Action matrix short.b

DATABASE AESTHETICS KINECT/CAMERA SMART PHONE BRAIN SENSOR

FILM EVENT/SPECTACLE: LECTURE,ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
PROJECT PROJECT PROJECT

MUSIC/SOUND EVENT/SPECTACLE: EXHIBTION, ANIMATION
PROJECT PROJECT PROJECT PROJECT

GAME/NARRATIVE/CAD SPACE EVENT/SPECTACLE: READING,LECTURE,ONLINE
PROJECT PROJECT PROJECT PROJECT

EVENT/SPECTACLE: METHOD, CUISINE, RITUAL
SERVO PROJECT PROJECT
PROJECT PROJECT
PROJECT
PROJECT PROJECT
ROBOT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION P

DATABASE AESTHETICS/
PROJECT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
INTERNET
PROJECT PROJECT
PROJECT PROJECT
MOTION/PERFORM/DANCE EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
DIMENSIONAL METHODS
EQUALITY COMMUNITY PROJECT
MAKING MAKING
1D 2D 3D 4D AUTHORITY
discussion document: prof. phillip baldwin.
MARKET PRICING
RANKING
ASYNCHRONOUS AND SYNCHRONOUS PROJECTS
phillip.baldwin@gmail.com. 917.385.2446
Monday, May 23, 2011

1 2 4
SUBJECT VERB OBJECTIVE MEASURED EFFECT
The docile body in the action matrix

We had a number of things going: we had the brain cap. This was amazing. It is a brain wave sensor cap that reads and then combines a matrix of emotions and
thoughts to move a matrix. We had the kinect which isolated the three dimensional body in any lit or unlit space. With the cameras it could isolate the head torso,
arms, and legs of the actor in the short field of the camera. This would work well getting the whole body in action and getting the couch potato off the seat in front of
the computer. The new dimensions of activity, stretching and possible cardio utility unfolded before us. The existing commercial software was kitsch and vile. The
possibilities of open ended expression-the use of film and sound textures-would greatly contribute to a type of freeing of kinesthetic expression. There was the web
camera on any laptop. Thomas Martinez combined the generation of white pixel count to increase the volume of any given music or sound selection and then to
randomize it within the given linear narrative of that work. We could use white pixels as well as film to increase speed and amplitude. The randomizing feature was
interesting also.

There are a couple of other transducers that would become responsive to the sychchronous or real time body. Within each question that we posed of the body we
see that the first binary remains the greater question of the difference and similarity between what is generated in real time…the audience, actor…and the situation
of the stage and the Internet…and what is archived or is asynchronous. This tension exists in the life of most individuals who not only use the Internet for their ‘real
time telephony but also their archived use of e mail. Within the body of each individual there is a larger question of their given DNA and the daily and momentary
use of that DNA. Another binary that we isolated in the spring semester’s inquiry and use of these toys was a greater question of the relationship of body aesthetics
to body utility: what are practices of ‘wellness’ over the practices of dance and movement. Another big question concerned the supposed dichotomy between the
body mapping in the mind and the use or the engagement of mirror neurons. Within the last fifty years of the last century…pretty much at the end of a devastating
war where many nations asked their young men to sacrifice their fives in the face of ripping ballistic steel…the second half was marked with an enticement to a
spectator/consumer culture dominated by the television. The forms of propagandistic one-way communication with this medium tended to create passive audiences
and the fabled couch potato embedded within the society of spectacle. As I write this now there is a full fifty percent of all Internet users in America also contribute
to some sort of blog or social media feed. The concept of ‘pro-suming’ and not merely engaging your mirror neurons with spectacle has arisen in the twenty short
years that the internet opened to the larger public in 1993.

So the larger inquiry concerns intersecting information with this new pro-summer. All of the body mapping will traverse the three combined geographies: the
landscape of the psyche, the realm of the molecular world, which includes books to hold, and the new digital telematic world. With the tools at hand the playful and
meaningful intersection of the body and mind that weaves through these newly combined geographies holds many fruits for expression and utility within in this
current ‘mashup’ as the young call it. …’Integration’ sounds so constipated. A couple of the last elements…which I have structured on a horizontal axis…are the
use of devices such as the smart phone and the database aesthetics emerging from the general and specific dataflow of any sorts of information existing on the
internet. The line up for examination of the ‘docile body within the matrix of physical computing inquiry would include the brain cap, the kinect, the web cam, the
sound sensors, the smart phone, and any sort of data flow coming from or entering into the internet. We can attach any other sort of sensor and transducers…such
as a servomotor and other electronic devices that read heat, light, wind, and anything the molecular world dishes out.

On the vertical axis I have lined up a similar set of ‘tools’ that measure or express the various data in and out of these three geographies: the psychic, the
molecular, and the digital. They would include but are not limited to: film, music and sound, game and narrative, a servo motor that would control anything
molecular, a robot, any sorts of database aesthetics and the internet at large, and motion and physical performance. Within this matrix of bodies, transducers, and
millions year old psyche and body we intend to write code that would allow for a modular application of questions, aesthetics, and therapies upon the intersection of
these tools and formal inquires. The resulting code…written in max msp and delivered with inexpensive transducers that combine agent, message and receiver we
hope to explore the aesthetic interweaving of the three geographies and produce works in progress and performances and exhibitions. There is a larger intersection
between art and technology/science. Some of these intersections raise questions of whom the modern body and psyche intersect with a degree of health within the
three geographies. We hope that a partnership with scientist and technologist within the fields of human factors, psychology, biology, information studies and many
other fields will participate and find avenues for their own inquire after our larger aesthetic and even moral questions have been raised within the matrix.

There is often a salient and deadly disjunction between ‘situation’ and simulation. As a military analyst has said of the prolonged battle in Iraq and Afghanistan: I
THE DOCILE BODY IN THE would rather have mediocre actions taken on fresh and pertinent questions than brilliant execution of strategy based on tired and inadequate questions. The new
ACTION MATRIX set of art and technology inquires…in addition to the inquires over the strategies and ends of education are enhanced by a constant questioning of and within given
‘geographies’. We hope this matrix calls forth the pertinent questions of the expressive and ‘useful/healthy body within the three geographies.
A discussion and lecture document: Prof. Phillip
Baldwin (phillip.baldwin@gmail.com) 917.385.2446


The space of flows and the space of places:

Has public space eroded? Within the three geographies-the molecular, the digital, and the psychological-have we witnessed two hundred years of
colonization of the psyche by consumerism? Manuel Castles has posited a dichotomy within the new telematic geography place over the old molecular
(physical geography) and psychic. He states that those wishing to assert their economic and cultural being within these new and daunting flows must
reinforce a sense of the ‘space of places’. The individual must ‘ground’ themselves in a heightened sense of the public: buying local, attending to
neighborhood projects, using the public realms within their living radius…doing everything that that grounds the final telos of human value within the
‘space of places’. This seems to be a simpler imperative, as it is wise: the empathetic and sympathetic character of human charity and localized
behavior extend a type of karma and community that benefits…ultimately…the fractioned within the space of places. Yet how does the ‘space of flows’
attack these spaces of place? How are the three geographies affected by the contrast of the new technologies of the space of flows and how is w to
assume a critical, ethical, and aesthetic grounding in the space of places?

With these telematic interface experiments I have attempted to address the larger critical questions within the space of places. I have used the very
new, consumer level gadgets to specifically address the dynamics within the space of flows to find some sort of direct impact within the space of places.
How ill and enfeebled is the space of places? Certainly the sense of community with a telematic and diverse population such as found within the east
coast of America doesn’t retain the sense of place found within an Italian pizza or even an English pub. Three or four times a week I conduct a type of
public discourse in the form of a class lecture. I lay out the agenda for each lecture and then…repeated several times…I conduct a type of modern
Socratic public dialog on the salient questions within this forum. At least this is what I think I do. Even after I explicitly lay out the readings and very
linear arrangement of the material to be absorbed I am confronted with a type of apathy. If I don’t state…or threat to evaluate…the students absorption
of material there is no inherent desire or curiosity to deal with the given material. The public discourses within the classroom of the university…
something that has existed in this form for over two thousand years…is treated as a cynical joke or, at best, a type of punitive forum for the evaluation
of rote-absorbed material. My attempts to isolate ‘binary relationships’ within contemporary entities will sit there inert in the face of a new space of flow:
the smart phone text messaging. Often the students tell me that they are taking the notes of my class’s as they are sitting in this public classroom yet I
know them to be connected to friends and events in social media. The ‘mask’ of their screens is usually hidden to me the performing monkey trying to
engage them in a discursive grounding within the culture of the classroom. What suffers in this swift stream of connected information is exactly that
type of critical grounding that is initially aesthetic, then it has an appearance as a moral exercise that consolidates the information that they will seem ‘to
need’ when they assume a larger sense of the public.

If you can’t beat them join them: a couple of the defenses against the swift and destructive currents of the space of flows are my use of ‘crowd
sourcing’ through their blog sites, the building of a larger public project, and the regular you tube interviews that I post from the beginning of the class.
In the two hundred years or so of commodity culture (in the west since Adam Smith lets say and up to the beginning of the massive commoditization of
culture in China) the capacity for the human psyche to commoditize itself has been criticized from Marx through Foucault. The landscape of desire has
been overlaid and reacted ‘critically’ to the world of the immediate environment. Human brain development has been attributed to the capacity and the
necessity of a being to ‘mind read’ the others in the local tribe. The size of a military company of about two hundred men hasn’t changed since the
roman legions. The cave paintings that exploded throughout Neolithic Europe seemed to come from a need to digest the physical world of images
upon a permanent medium (with strange similarity to the Magian or even platonic use of the cave wall as a doppelganger to the human psyche). As
human cranial development hasn’t changed much in the past 200,000 years the need to express and reflect the physical world in terms of images
seems to have happened around fifty thousand years ago. The current landscape of conscious and subconscious desire (the embracing of pleasure at
the service of procreation, and the avoidance of pain) still has its cave walls though these things have a far swifter stream to fight against within the jet
streams of the Internet. The grounding that I have attempted through assigning the blog site as a type of cave wall must struggle against an un-
grounding in critical form in addition to types of add and cynicism…. a great cynicism that seems to be an effect of the telematic that nothing is
permanent…. especially the desire to witness within the telematic.

After the use of the blog site I incorporated the use of the avatar social media sites like second life. This found no interest with my New York based
students. I then sought to use the very simple and inexpensive mediums of film, music, game, drama, servo motors (that turn the digital into the
physical movements) database aesthetics and motion created by performers. As I found amazement with the ‘magical’ use of these items I also found
a type of blasé reception of these gadgets. The space of flows was still too swift and the comfort of their screens was still their most trusted ‘public
portal’ to the other possible critical realms.
THE PUBLIC INTERFACE IN THE Is the screen of the laptop or smart phone ‘public’ in a grounded culturally critical sense? Perhaps not. If we have the imperative of sharing
SPACE OF FLOWS incorporated in the space of places we need to achieve more salient means of engaging a public discourse. The psyche has turned into a self-
commoditizing mechanism in the swift stream of the telematic. What would turn this tide?

DIMENSIONAL METHODS
1D 2D 3D 4D
discussion document: prof. phillip baldwin. 4

COMMUNITY SHARING EQUALITY MAKING
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AUTHORITY RANKING MARKET PRICING

DIMENSIONAL METHODS
IMPERATIVES
1D 2D 3D 4D

1 DIMENSION 2 DIMENSIONS 3 DIMENSIONS 4 DIMENSIONS

INFRASTRUCTURE GRANT
THINKING

GRAD SCHOOL APP
DRAWING
SUSTAIN CULTURAL
TRAVEL GRANT
HERITAGE
GLOBAL EDUCATION
WRITING
PERSONAL ARTISTIC
GRANT
CULTURAL PRODUCTION GROUP (ART, EXHIBITION, WORKSHOP)
CLAY

TECH AND EDUCATION
WORKSHOP, LECTURES, SYMPOSIA, STUDIES.
CAD/FABER
PUBLISHING/MEDIA DEVELOPMENT DIGITAL ARCHIVES

THE INTENTIONAL COMMUNITY
GAME/MOVEMENT ONLINE EDUCATION AND DEVELOPMENT
GLOBAL SUSTAINABLE
EVENT/SPECTACLE HEALTH AND MEDICAL
STORY/SUSTAINABLE URBAN SUSTAINABLE ARCH.URBANISM.AFFORDABLE HOUSING
DIMENSIONAL METHODS
EQUALITY COMMUNITY NGO/NFP MODULAR COMPONENT
MAKING MAKING
1D 2D 3D 4D MARKET PRICING AUTHORITY
discussion document: prof. phillip baldwin. RANKING

1 DIMENSION 2 DIMENSIONS 3 DIMENSIONS 4 DIMENSIONS
VOICE RECORDER SKETCH BOOK CLAY/BODY/COMPUTER FILM CAMERA/COMPUTER

THINKING EVENT/SPECTACLE: LECTURE,ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
PROJECT

DRAWING EVENT/SPECTACLE: EXHIBTION, ANIMATION
PROJECT

WRITING EVENT/SPECTACLE: READING,LECTURE,ONLINE
PROJECT PROJECT

EVENT/SPECTACLE: METHOD, CUISINE, RITUAL
CLAY
PROJECT

CAD/FABER EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION P

GAME/MOVEMENT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
PROJECT PROJECT

STORY/SUSTAINABLE EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION
DIMENSIONAL METHODS
EQUALITY COMMUNITY PROJECT
MAKING MAKING
1D 2D 3D 4D AUTHORITY
MARKET PRICING
RANKING
ASYNCHRONOUS AND SYNCHRONOUS PROJECTS

1 2 4

THE DOCILE BODY IN THE
ACTION MATRIX
A discussion and lecture document: Prof. Phillip
Baldwin (phillip.baldwin@gmail.com) 917.385.2446


WORKSHOP IN CREATIVE
METHODS: NYC, SEOUL



OASIS MAZE


METHODS: NYC, SEOUL



Creative method: A Travel Workshop. Seoul, NYC.

Initial responses to who what when why how to make this work.

Who: and exchange of primary and secondary school teachers from Korea and the United States. The
ten-day program consists of exhibitions, symposia, personal blogs and vlogging, and workshop exercises
in English and Korea in methods of creativity and how to impart educational curriculum to maximize
creativity and innovation. With select teachers and administrators from Korea we will employ our method
over various curriculum such as math, English and Korean literature, science, technology, and sociology/
political scientist and economics to integrate these new methods of teaching the play down the rote
method of teaching. The experience will culminate in a staged performance (dance, media, and theater)
and a personal blog entry on how the workshop culminated. With the changing needs within educational
reform this program will expand within a certain time a greater curriculum for the integration of
innovation, creative thinking, and Socratic and critical synthesis within the educational system of Korea.

What: with an inspection of the various disciplines within the Korean educational system we approach
the need for greater creativity and content synthesis in a new manner. Borrowing from the French
semiotics of the 1920s and the film analysis of Lev Manovev we explore the two axis of critical and
creative thinking within any content. Various critical contents, fields, disciplines, movements, and
subjects exist on the vertical plate. We call these paradigms. At the intersection of any teacher, student
or citizen's life they are expected by the economy to gain some facility over a discipline that is useful or
profitable to society. The need for a high level of specialization often negates the chance for creative
thinking. We also recognize that, in this highly technological global economy and society, the demands
to find an expertise within a select disciple often puts the citizen -student in higher education and
postgraduate institutions for a long time. The emergence of online instruction has done much to get rid
of the time and space hindrances of higher education but the critical cohesion and creative is often lost in
this online instruction. We recognize that there are demanding specializations that exist as paradigms to
be encountered with what we call the syntagms or creative narratives moving on the horizontal or 'time
based' chronology of the subject and the society at large. For example on third of all professions that are
studied in college now will be gone from the 'market' within five years. The paradigm of 'technology' is a
field that doubles in computational power and expansion every 18 months according to Moore’s law. We
have included an idea of 'creative technology' to add the interest and the insertion of a curriculum within
the 'time line' of the student grasping this subject.

As the paradigm, the subject, and the modular study of 'communications technology' are studied there
are types of benchmarks of study that the student should move through in order to account for
effectiveness in a 'right now' and future economy. On the horizontal, narrative, or syntagmatic axis we
have the student and teacher move through a to z method of completions. Absorption, recitation, and
creative mastery of that paradigm might also mover through 'media arts', journalism, coding science, and
semantics. Or creative method focuses on the individual teacher/student narrative movement through
the paradigmatic disciplines. It is in this manner that we avoid a general anarchy of thought and focus in
a narrative manner...building interest...in the larger and stipulated completion (using all of the tools of
WORKSHOP IN CREATIVE media including the internet, film, still image, 3-d modeling and light coding) to arrive at a new product
METHODS: NYC, SEOUL service that is manifest to the student and an audience.

Need is the mother of invention. We face systems of collapse in economic, society, ethics, and other
realms that we considered useful and necessary to the societies involved. A student today has to look
discussion document: prof. phillip baldwin. around at the social political and economic upheaval that confronts them in their young lives. They often 16
feel that these problems appear to be insurmountable. Yet, through this method of building the 'answers
Monday, May 23, 2011 around the questions' we attend to an ancient 'Socratic' method of inquiring wile monitoring the metrics

feel that these problems appear to be insurmountable. Yet, through this method of building the 'answers
around the questions' we attend to an ancient 'Socratic' method of inquiring wile monitoring the metrics
of education around the narrative level prescribed by the instructor. The impulse to the creative begins
from many sources and origins.... large amongst these are both joy and lack. Out of joy the child creates
and plays and the child’s figures this to be a natural training for later work. The contrast is homo
ludens.... the human of play...and homo Faber.... the human of wok. This is a nature aspect that is
experienced globally and is natural to the species. It is often crushed by institutions, families, and later
work that needs as its product regimentation and conformity. The second aspect of the impulse to
creativity is that of a 'negative' feeling which must not be fear but embraced. This is one of 'lack'.... it
arises out of the original psychology of the individual experiencing the lack of the original paradise of the
mother and continues from there into a lack of the commodities within a social narrative that tell the
individual ...as exterior benchmarks that they are becoming successful. In this needs...especially in later
life...innovation and invention spread. Rather than rewarding a subject for their conformity in a doomed
system equivalent to arranging deck chairs on the titanic...the creative and 'Socratic ' teach places the
problems and questions before the student and the produce...not consume their method out of the
contextual...'narrative' problem.

In this way the database...the online store of information about a produce, service, or social or scientific
fact or body of knowledge is aligned and intersected/contrasted...in a controlled modular method with the
assigned 'time/space' narrative plane of the 'horizontal'. These structure...stet out as a modular method
of study...is then contrasted with the selection of paradigms within a set bundle of study within a school
system. It is in this method that e combine the skill and hard work of absorbing a particular study outside
of personal expression, with a mean of creativity imparting and fabricating new products, services, or
'things in itself'.

Why?

From the method listed we have arrived at an answer to this question. The global social and economic
tumults...coupled with sever questions of the environmental safety of our biosphere in addition to an
inspection of the quantity of humans within the largely urban world we have a need to reform the very
institutions that ask and formulate the original questions that could lead to innovative solutions to these
larger...and overwhelming questions. The fact that current educational system where prepared with an
idea of industrial and 'Taylorist' efficiencies in mind is obvious. The need to develop a changed
curriculum with responsive means and ends to a fragile and interconnected planet will lead to a grater
inspection of and, perhaps, might lead to a greater sense of fulfillment within the citizen students
themselves.

When: for a period of ten days in New York City, and then a corresponding ten days within select
environments in Seoul we will (with a larger idea of franchising the method for other places of call such
as Rome...villas in the hill outside of Rome and Florence, Ankor Watt, a sea born study, and many other
possibilities ...the subject will find that the stimulating surroundings will lead to a greater atmosphere of
creative fruitfulness. This program is band its method is based online so that the curriculum, with the
attending laptops, code, performing arts of the specific area, blogs, vlogs, and narrative creation in
WORKSHOP IN CREATIVE exhibition and film will succeed in various places because of the rigor and the open atmosphere created
METHODS: NYC, SEOUL by the mentors and the situations that are found.

How/how much: with a travel and living stipend of about $2000, coupled with the teaching and technical
phillip.baldwin@gmail.com. 917.385.2446 media fee of another $2500 we will move the members through these courses in creative and creative
methods. This will culminate in a program that will expand the method of the creators, certificate course
Monday, May 23, 2011 by and through Korean agencies, and other programs that can be picked up with completion of courses

methods. This will culminate in a program that will expand the method of the creators, certificate course
by and through Korean agencies, and other programs that can be picked up with completion of courses
in stimulating and beautiful environments for 4500 we will begins these methods and hope that they
expand not only in Korea but within educational reform of the west and eastern nations as well. Such as
Italian villas and ruins in the Yucatan and Ankor Watt. We feel that these methods...coupled with an
online study course will lead to the creates stimulation and effectiveness which will not only build the
teaching subjects abilities to train and mentor this new creative method...but will also increase their
salary within their positions.

Sent from my iPad

METHODS: NYC, SEOUL



THE TOUCH TABLET AND THE
IMMERSIVE ENVIRONMENT: NEW LEARNING

PROF. PHILLIP BALDWIN: PHILLIP.BALDWIN@GMAIL.COM
WHITE PAPER AND DISCUSSION DOCUMENT


SPACE OTHER SELF LONG TERM GOALS

THE ‘LESSONS’ DEMANDING APTITUDE (DATABASE)

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GAMESPACE 1
ALL S IS P NO S IS P

SOME S IS P 2 SOME S IS NOT P

3

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THE CREATIVE MEDIUM TO ‘EXPRESS’ KNOWLEDGE

CREATIVE METHOD
NYC, SEOUL
discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446



THE ‘LESSONS’ DEMANDING APTITUDE (DATABASE)
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BLOG AND VLOG U
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CREATIVE, ‘PERSONAL’ ARCH OF PARTICIPANT
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CREATIVE TECHNOLOGY
ALL S IS P 2 NO S IS P

SOME S IS P SOME S IS NOT P

3
DOCUMENTARY FILM/PERFORMANCE/VJ
4

GAMESPACE/LEARNING ENVRIONMENTS

3D FORM

CREATIVE OBSERVER/THE GRAND TOUR
THE CREATIVE MEDIUM TO ‘EXPRESS’ KNOWLEDGE

CREATIVE METHOD
NYC, SEOUL


SPACE OTHER SELF BIG TIME

RURAL
SUSTAINABLE

URBAN
SUSTAINABLE



GLOBAL
EDUCATION

WHAT WE WANT: THE TELEMATIC SELF.

CAPITAL ACCUMULATION: GRANTS
AND CHI : THE TELEMATIC SELF.



RURAL SUSTAINABLE PERSONAL ARTISTIC
DIGITAL ARCHIVES
GRANT
URBAN SUSTAINABLE
SUSTAIN CULTURAL
GRAD SCHOOL APP
EVENT/SPECTACLE HERITAGE
TRAVEL GRANT
INFRASTRUCTURE GRANT CULTURAL PRODUCTION GROUP (ART, EXHIBITION, WORKSHOP)

SMALL BUSINESS DEVELOPMENT

GLOBAL EDUCATION

GLOBAL SUSTAINABLE
ALL S IS P
TECH AND EDUCATION NO S IS P


HEALTH AND MEDICAL

ARCH.URBANISM.AFFORDABLE HOUSING

WORKSHOP, LECTURES, SYMPOSIA, STUDIES.

PUBLISHING/MEDIA DEVELOPMENT


ONLINE EDUCATION AND DEVELOPMENT

CREATIVE METHOD NGO/NFP MODULOR COMPONENT
NYC, SEOUL


EVENT/SPECTACLE
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CREATIVE METHOD
NYC, SEOUL


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CREATIVE METHOD
NYC, SEOUL


PERSONAL
ARTISTIC GRANT

INFRASTRUC
TURE GRANT



DIGITAL ARCHIVES

MALLARME-ESQUE
PHILLIP BALDWIN


METHODS: NYC, SEOUL



SOUND DISTANCE: DANCE/
PHYSICAL COMPUTING
WORKSHOP



PHYSICAL COMPUTING
WORKSHOP



1 2 4

THE NEXT

A discussion and lecture document: Prof. Phillip Baldwin
(phillip.baldwin@gmail.com). 917.385.2446


A DOLL’S DWELL HOUSE:
YUPPIE LIP-STICK FEMINISM
AND IBSEN’S REVOLUTION



CENTERING THE ECO/EROS DILETTANTE

A discussion document: Prof. Phillip Baldwin
(phillip.baldwin@gmail.com). 917.385.2446


We use iphones and droid phones, rigged with custom controller apps. ‘Layer’ augmented reality
inserts of ‘clues and latent desires’, gyro mouse gesture controllers, sentient cameras tuned with
Max and Jitter code, the text of the American Decameron play within a play, projections from
within the ‘smart device’ and on the walls of the theater itself. We run this venerated script of
culpability and escape with the current tools of culpability and escape. We are running a custom
multiplayer game mod that is projected on the inside of the theater.


Become one with it

The text continues:
Perceive not the objects
but the distance
between them
not the sounds
but the pauses
they leave unfilled

EAST ASIAN MA AND TELEMATICS: SPACE/TIME AS COGNITION AND AESTHETICS.

Perceive not the object but the distance between them not the sounds but the pauses they leave unfilled

Are the rocks placed on the ground the islands of paradise is the white sand the vast ocean that distances them from this world

Breath Swallow this garden let it swallow you Become one with it-ONLINE SOURCE.

There are a lot of comparisons, but I can outline some glaring examples. I lecture. This focus has been like that of perceiving the European formal
garden: everything starts from an acceptance…an acquiescence of the formal point. Western theater is this way. The film…. that great democratic
flickering on the inside of an auditorium is the same way and even more deceptive: the audience member gets to thinking that the ‘other’ has been
eliminated in there perception of the formal product…to be perceived and consumed formally…in the dark. The audience gets to think that the lineage
from the massive cathedrals, …perhaps even the cruel blood sports of the roman…through the court theaters and into the great formal palaces of
Europe into the dark movie hall with the expensive ticket. Some of my students say that in the hyper urban environment this dark movie theater is good
only for watching a lousy film that they don’t have to pay attention to and they can make out. They can’t do this in their small rooms or on lonely country
roads parking. They say NetflIx is better for getting as many films as they want. Or DVDs. The small formally arranged lecture/theater/court formalism
has ended up as a dark petting place. It is fitting that it didn’t go out with a bang.

So telematics…that thing which is ‘out there’ but is ‘too much’ is chipped away at daily by the use of the young and the old alike. The social media are
still self-defining though the recent rebellion in Egypt has showed the world what this frivolous medium can really do when opened up. I have hard time
getting focus in the class that deals with machines. I have included all open source software and other ways of democratizing this medium but it has
pretty much done that itself. The costs on this equipment are so low that almost every student coming in can use the free sources. And why did a
paternalistic ‘formal’ society allow this? Because they wish to connect the neurons of the telematic…the sematic web…with as much information as
possible so that it can be placed in a ranking system. The searches as well and the ‘neuronal’ influences of many individuals with many types of desires
combine. A 12 megapixels camera that does high-density film making as well as still shots costs about one fifth of what it costs five years ago. The past
weekend t mobile was giving out smart phones if members subscribed to the program. What we see happening in this emergence…the way of getting
THE AESTHETICS OF ESCAPE: being in and off of the social mediums and such is a type of city or garden. The garden metaphor works better because the city implies a type of social
BREAKS IN THE MODERNIST utility. One just shows up in the garden…not wanting to take away anything but the aesthetic pleasure and the conceptual realignments that this might
afford.
KARMIC CHAIN
The garden is a medium for meditation Perceive the blankness Listen to the voice of the silence Imagine the void filled-ONLINE QUOTE OF
discussion document: prof. phillip baldwin. MA.
SEQUENCE. HOW WE MAKE OUR WAY THROUGH THE SEQUENCE OF THE GARDEN.

Making them care is the first step. Making them responded to other human beings on the other end of the camera…multiple cameras. Within the limbic
brain is the key: the emotions of belonging, meaningfulness, and an overcoming of alienation. Was it proximity and community that caused this same
alienation that the participant now wishes to overcome. Employment: to distribute skills and services over a distance where…in the locality…there isn’t
the need for that skill. This means that what needs to be taught is a types of new skills for the telematic geography. Performance: what do we like to
see, hear, and experience stories? Will a sense of participation in games and gaming overcome the ancient forms of drama, film, and television or will
the new medium and delivery merely adjust the ‘form’ of the older medium as indicated by McLuhan. The content of life, ambition, crime, sex, death,
love, war, and all the lesser actions of humans remains, yet it is the form…usually but not always conditioned by a new communications technology, that
forms the new outer shell and delivery.

Yet it is with the interplay between the human appropriations of this communications technology that creates the new movements within society. The
university will change under the vast pyramid scheme of expensive high education and the way human beings absorb synchronous and asynchronous.
The synchronous is more engaging…or at least it should be in order to survive. The asynchronous just sits there. Lev Mendelev outlines the interplay
or the inheritance that new interactive media takes from the Russian film montagists such as Eisenstein: frame, sequence, impression and the strong
‘linear time’ sequence over the expression of paradigms of ‘content’. He called this the interplay and tension between database and narrative. As
coders and other specialist attended to the ways that databases exist ‘out there’ human storytellers proceed with their creation and absorption of their
narratives. Face book and twitter are interesting cases of this tension: there are many satisfactions is returning to the face book page and seeing what
your friends are doing yet you don’t want to be absorbed completely with a life on the machine…. you cannot…though some do…merely exist with a
shallow senseless life on the machine responding to all of those who are replying to you. The impulse for voyeurism and exhibitionism is overtaken by a
need to engage the other senses. What kicks in with most of these interactive forms…and this will include the university of the future…is the compelling
and persuasive power of the synchronistic. Libraries have existed for a long time yet it is in the medium of their brick and mortar that the public has
found their attraction. Libraries were structures to get lost in and absorbed with. The success of the asynchronistic…, which might include the demise of
theater, the university, and other institutions, that seem to be cracking under the stress of the massive fanatical and communications paradigm shifts…
will lie not in the synchronistic enhancement…but in the way the asynchronous attracts. Within this might be the concept of ‘Ma’ or the delicious interval,
which allows for a moment of inspection…infinite inspection.

Usage in Eastern Philosophy

The Taoist philosopher Lao Tse wrote extensively on the concept of Ma including his poem The Uses of Not :

Thirty spokes meet in the hub,
but the empty space between them
is the essence of the wheel.
Pots are formed from clay,
but the empty space between it
is the essence of the pot.
Walls with windows and doors form the house,
but the empty space within it
THE AESTHETICS OF ESCAPE: is the essence of the house.[7]
BREAKS IN THE MODERNIST
KARMIC CHAIN Perceive not the object
but the distance
between them
discussion document: prof. phillip baldwin. not the sounds
phillip.baldwin@gmail.com. 917.385.2446 but the pauses
they leave unfilled

SEQUENCE. HOW WE MAKE OUR WAY THROUGH THE SEQUENCE OF THE GARDEN.

Perceive the silences in a medium that doesn’t have silences. It doesn’t have the openings because we perceive it as a mass. We move through it and
it appears to be filled. But is it? What are the silences in our approaches to this very special garden? These are the things that we make by going on
and off in this medium. It is the way in which we place things synchronistically and asynchronistically. Do we find things because they wait for use or do
we find them because we desire these things right away? In the contact of the moment?

After the first fixed shot the following text is read:
MA
The garden is a medium

For meditation
Perceive the blankness
Listen to the voice of the
Silence
Imagine the void filled

After the zooms, we read the following words in the frame:
Are the rocks placed?
On the ground
The islands of paradise
Is the white sand the
Vast Ocean
That distances them
From this world

Breathe
Swallow this garden
Let it swallow you
Become one with it

THIS IS A PROPOSAL TO CREATE A ‘TELEMATIC CULTURAL CENTER’ FROM THE Villa Castello Vignanello.

This unique proposal is to create a wonderful center of culture, lectures, installations and exhibits that employ the latest in ‘telematic delivery’. With the
new ‘immersive environments’ we now truly live in a ‘zero distance’ communion. Networked performances, music, web based installations, seminars
and other ‘meet up’ can and should be conducted in some of the most beautiful places on earth…this villa is the magnificent subject in mind. Through
an installation of the minimum of telematic delivery-high speed Internet connection, a series of high lumen projection systems, and other minimum
technological combinations, the Villa Castello Vignanello Can is transformed into a first tier telematic exhibition space. TED conferences, university
THE AESTHETICS OF ESCAPE: seminars on social transformation, architectural collaborations with existing agrarian economic development, collaborations on sustainable practices…all
BREAKS IN THE MODERNIST of these are possible. We would begin with a residency and then partner with a local and then global (US, Asian) university. With the telematic interest
in a residency and the site-specific creation of residence halls the Villa Castello Vignanello will invite world leaders in commerce’s, art, and society. The
KARMIC CHAIN participants, the patrons, the fans, the students, and the collaborators in this unique project will establish a residency on a number of scales. This is a
‘genus loci’ of an inspired place: Villa Castello Vignanello. …a place that…on many levels…could belong to many…

discussion document: prof. phillip baldwin. The telematic salon objectives and ‘site specific’ and distance collaborators:
1. PAIR OFF COLLABORATORS ACROSS FIELDS AND DISTANCES

1. PAIR OFF COLLABORATORS ACROSS FIELDS AND DISTANCES
2. LOCAL/DISTANCE COLAB.
3. POSSIBLE NETWORK PERFORMANCES...PROJECTED
4. IT SHOULD BE SPECTACULAR.
5. AVOID THE MIDDLE BROW: AIM FOR 'HIGH BROW' OR 'LOW BROW' OR 'NO BROW'.
6. INVOLVE PROJECTED AND INTERACTIVE FORMS.
7. WRAP THE 'COLAB' TOGTHER WITH SOME SORT OF TELEMATICS.
8. FIFTEEN MINUTE COLAB PRESENTATIONS, 30 MIN AT MOST.
9. TRY TO INVOLVE THE AUDIENCES.... ON SITE OR DISTANCE.
10. POSSIBLE COLLISION OF FIELDS: POETRY, ARCHITECTURE, DIGITAL MEDIA, FILM, INTERACTIVE MEDIA, GAME, URBAN PLANNING,
LANDSCAPE ARCHITECTURE, PAINTING, SCULPTURE, PERFORMANCE, INSTRUMENTATION, MUSIC, COMPOSITION, TASTE, TOUCH,
HYBRID FORMS, WRITING, ENGINEERING, INTERFACE DESIGN, PROFESSING, DRAMA, PLAYWRITING, POLITICS, MEDICINE, SHAMANISM,
DANCE, ENSEMBLES, COLLECTIVES, SMART MOBS, STUDENTS.

MA AND THE FOUR DIMENSIONAL CONCEPT OF REALITY IN TODAY’S TOKYO
!
During the last few years, I have in my art been working with the understanding of time in different ways. When I spent a few months in NYC in 2002 it
became apparent to me that I often understood time as a part of space. I saw time as a variable of space, and I found it difficult to separate that which
has already happened from what is happening in the present. This made me question my linear perception of time. During this period I also started to
think about how I perceived my everyday life. I saw it as extremely rational, with days structured in order to fit everything in. I did feel an increasing
emptiness in this “ticking things off” throughout the days. In my efforts to try to understand where this linear perception of time and this rational way of
thinking came from, as well as what it means to me and to the society that I live in, I came in touch with the Japanese concept of Ma. I understood that
Ma meant a way of perceiving time that was different from the linear perception. I looked for all kinds of literature on the subject, which turned out to be a
not so easy thing. I therefore decided to go to Tokyo. With me on this trip was Daniel Segerberg, who is also an artist. In Tokyo, we had a wide range of
contacts that kept increasing when we asked for people to help us understand the concept of Ma. The text that follows is written in collaboration with
Daniel Segerberg as a means for us to try to understand Ma and the Japanese space/time. Lacking literature and Internet sources, it is our own
interpretation based on the conversations, the art and film we experienced and gathered before and during our stay in Tokyo in October of 2005.

A brief explanation of the concept of Ma.

Ma; the empty space, the in between, the silence, the pause, the emptiness, the interval, the distance, the timing etc, is something that is present
throughout the entire Japanese society, but it’s predominantly in the traditional arts that you usually refer to the concept of Ma. In old ink painting for
example, you would say that the focus should lie within in the absence of the brush and the ink. The blank paper is a state of limitlessness where
anything is possible. It symbolizes the source of all shapes, beyond time and space.

In the literature we were able to get a hold of before we went, written in English or Swedish, Ma was often explained as a four dimensional concept of
time and space. This is something that we later found out to be incorrect, and therefore realized that we really did not know what this “Ma” actually stood
for. We had to start from the beginning by randomly or actively asking Japanese people that we came in touch with, “What exactly is Ma?”

THE AESTHETICS OF ESCAPE:
BREAKS IN THE MODERNIST “In New York people are scared of the silent parts of a conversation. Ma means a unity within the silence”, said a musician who had lived in NYC for ten
KARMIC CHAIN years. Or, “Good Ma is the timing in a joke,” a dancer explained. A Karate champion described Ma as “the distance between yourself and your
opponent”. He explained that the right Ma is everything in Karate. The distance should put you of reach of your opponent. If you step into your
opponents Ma you give him an opportunity to attack. One move should get him down. Kendo has the same principles; one strike with the sword should
be enough, the rest is Ma. Ma is also the timing in sumo wrestling. The wrestlers stand in front of each other, look in to each other’s eyes and let their
phillip.baldwin@gmail.com. 917.385.2446 feeling decide when to open up the fight. There is no judge to let them know when to start. Should the timing fail, you start over. “Ma can be the distance
to your lover, the right timing for a kiss etc. When you get to know each other you can decrease the distance to your lover”, the karate champion
Monday, May 23, 2011 explains. Every bow in the Japanese everyday life should be magaii (good Ma); it should come at the right time, simultaneously. A Buddhist priest

What is a city of the future? The opening discussion for the conference in Korea and Italy involving the branded
‘mobile immersive community’.

THIS IS A PROJECT PROPOSAL FOR A SERIES OF INTERVIEWS AND FILMED DISCUSSIONS ON THE CITY
OF THE FUTURE.
THE PROPOSAL:
With the larger pedagogical concerns around the city of the future we have resorted to a three techniques that will
be used to increase the presence of the ‘metaweb’ as we continue these discussions. The infrastructure of the
above proposal shall be made to travel with the organizers and participants.
-We will conduct interviews from webcams on all present laptops and place these on social video sites such as you
tube and vimeo.
-We will employ the construction of an immersive media club that will be linked to other such clubs worldwide. The
‘four-square’ format of image, interactive surface and controllers, and the surround sound will be complimented
with facilities for eating and drinking. Inspired by the now defunct ‘Monkey town’ the ‘roman banquet’ format has
proven very successful for the eating and viewing environment. Much like an Italian piazza or a Korean Madang
the set up will compliment all communal gatherings with local or distance participants.
-The said ‘immersive distance telematic environment’ will also be use for ‘networked performance’. The traveling
infrastructure of no more than 40k in four projectors, sound equipment and connections will be designed to travel
by air. All participants in these conferences will be required to bring at least on wifi laptop and a digital camera.
-The surrounding of the site…Korea, Italy, NYC, and any other locals will also be projected on to integrate
interactive public arts with the topics of the lecture. The intrinsically beautiful sites will be ‘augmented’ in this
manner.
-There will be continued efforts to integrate immersive, social, and mobile media into a modular ‘tech package’.
We will look forward to working with technicians and scientists on the streamlining and packaging of the ‘portable
immersive space’.
-With a partnership with Korean telecommunications and electronics companies the apparatuses and mobile
infrastructure will be branded and all innovations patented to the degree that can be.
We feel this format is dynamic and stimulating. It is responsive to the preservation of venerated documents of
‘architectural and site specific significance’, as well as eroding the non-necessary ‘brick and mortar’ that adds costs
to communion, education, and culture. We feel that this is not only the future but also the salient present.

What are the dominant features of site specific and situation-less transnational culture? How important and how
with East Asian and especially Korean influences remain? We look at ancient east Asian aesthetics and culture
within two polar phenomena: the degree of information connectivity-the presence of telematic computing and
smart phones within global culture-and the degree of social connectivity. As social connectivity…especially with
the use of social media online and with smart phone grows there is a type of ‘telemodernity’ facing many global
THE AESTHETICS OF ESCAPE: cultures? As the ‘web’ began this momentum toward a global culture with its local influences, the connects of
information was not enough. Old-fashion ‘push’ media can spread pop culture (as adopted largely from the style of
BREAKS IN THE MODERNIST post-war America), we find that the global citizen makes man choices within his or her day to use the web to
KARMIC CHAIN spread information of their lives and desires. Enterprise portals and search engines remain inert unless there are
desires to use the new mediums. The semantic web connects knowledge with intelligent agents, artificial
intelligences, ontologies, and knowledge managements systems, but here again the human element with desire is
discussion document: prof. phillip baldwin. lacking. We start to see a similarity with ancient East Asian thought of connecting ‘Gi’ and senses of collective
phillip.baldwin@gmail.com. 917.385.2446 knowledge’s. We see Taoist influences with a greater appreciation of the agent within and embodying nature
instead of the dominant, western/Cartesian methods of ‘standing outside of nature’ to quantifying and dissect it.
Monday, May 23, 2011 On the plan of social connectivity we see the social software connecting people with e-mail, social networks and

intelligences, ontologies, and knowledge managements systems, but here again the human element with desire is
lacking. We start to see a similarity with ancient East Asian thought of connecting ‘Gi’ and senses of collective
knowledge’s. We see Taoist influences with a greater appreciation of the agent within and embodying nature
instead of the dominant, western/Cartesian methods of ‘standing outside of nature’ to quantifying and dissect it.
On the plan of social connectivity we see the social software connecting people with e-mail, social networks and
community portals. This new institute unites the ancient concept of larger ‘flows’ with the emerging ‘Metaweb’.
This is the entity that exists to connect intelligences. Between the poles of social connectivity and information
connectivity the Metaweb emerges as a synthesis of human, machine, and forms of will and agency that resemble
ancient east Asian practices and philosophies. Decentralized communities of like-minded people abound.
Knowledge networks, smart marketplaces, and enterprise minds emerge to think about and ‘solve’ global problems
such as the creation of lower carbon lifestyles, and examine the obsolescence’s of commodity fetish financial
markets. The ‘global brain’ as this sounds ominous, must be approached and appreciated. It is in this spirit that
we feel this institute is timely and in great need…with a dynamic response to the manifestation of programming.

Sincerely,

Prof. Phillip Baldwin

FIRST TOPIC FOR DISCUSSION:
A City of the Future will emerge from Today’s Global Village and the complex life conditions that include (but aren’t
limited to):

accelerated rates of knowledge generation
population explosion
migration
demographic shifts
globalization
accelerating rates of change related to scientific, technological, communications and transportation
THE AESTHETICS OF ESCAPE: increasing concentrated use of energy
BREAKS IN THE MODERNIST increasing diffusion of wastes and toxins
KARMIC CHAIN declining access to the supporting resources of life (eg. water, food, energy, raw materials for production)
The City of the Future may respond ineffectively to these conditions and thus magnify the dysfunctions of Today’s
Global Village. Alternatively, the City of the Future may discover a healthier life by responding to change with
discussion document: prof. phillip baldwin. awareness of its change state and developing Vital Signs Monitors that track:


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