Time Forms Participants List
  · Amy Alexander/UCSD Visual Arts Faculty, CRCA researcher
"b0timati0n" is a live Internet/metaspace performance that takes text results from an Internet search engine "bot" and displays it in a continuously animating pattern. Something of a search-engine-gone-light-show, the text is interactively "conducted" by an Übergeek performer armed with geek toys including an air mouse and a post-Stelarcian Mattel power glove. Web text become3s cool! - With all the hipness of a designer pocket protector . . . A humourous look at the merging and hype of geekness and cool in contemporary culture.
  · Jason Bader/UCLA

Context -As humans we live and move about in a 3D world.The renaissance artists discovered perspective and how to use the technique to create a 3D environment in their paintings and compositions.Two dimensional art (i.e. paintings,photographs)using perspective would always try to give a sense of immediacy to the viewer.The artist would try to take away the medium and try to make the viewer have a sense of depth on an object that is flat. Now that video has uncovered the ability to move in the 4th dimension by shifting time and repeating past occurrences,many people are again trying to replicate a sense of realism and depth of space into the video.Even though video has given the ability to move through time,it still exists in a 2d world.Video is flat and cannot exist as a three dimensional object. I want to reinforce that the video plane is flat.I us the video as a canvas and to create montage of video to create an alternative form on the flat surface.It is achieved by recording footage in the same location over the period of the day, making sure the camera angle does not move.The video is then taken into post production and edited using masking and layering,creating a collage of video images that creates a final composition. The way the composition on the screen is built is inspired by experiments of the impressionist painter Claude Monet.He would paint the same scenes at different times of the day to show the color variations on landscape depending on its place in the sky.If video is captured at different times of the day and then parts of images of those video clips are strategically placed on the display surface,then a form within the two dimensional video space will be created. With the creation of digital technology to manipulate video,different and manipulated perspectives to the element of time and space can now take place.Even though the image represented in the plane is static space.The collage of different times on that plane give it a whole new spatial identity.

Content -To understand the content of this work we must understand the function of a "HUB" in a networked environment.A hub is a piece of equipment that acts as an intersection for millions and millions of bytes of networked data.This data information comes from all sorts of different machines and cross in a hub to reach their varying destinations. The word hub is used as a metaphor for the visual displayed on the screen in this artwork.The image is of a street intersection.Not just any intersection but an intersection that is known as one of the busiest traffic intersections in the United States,possibly even the world.This is in the city of Los Angeles at the intersection of Wilshire and Westwood Blvd.The cars are like computer data moving through a network.Thousands and thousands of cars travel through this intersection.All of them start from different points and usually end up at different points in the city,however they all cross in this intersecting space. It relates to a "TIME FORMS " because on the visual are a collection of six different times through out the day.. These different times are all put together on one surface to create a form from time.

Function -The function of this piece is to be a stand alone,non-interactive video.Just a time based work shown on a two dimensional surface.This work DOES NOT deal with narrative.It is about using the video medium to give the viewer a sense of hypermediacy with the work,using the plane to show a visual concept,and not to tell a story.In most narratives, the viewer must keep investigating the material as time unfolds to have a deeper understanding of the piece. In this work the participant can watch for 10 seconds or 10 minutes and possibly come to the same conclusion of its meaning.

  · William Carey/CalArts
  Dies Centi
What if the day were divided into 100 hours instead of twenty-four? And what if each of those hours were divided into 1,000 seconds? The resulting basic unit of this "metric" time system would be 17.5% shorter than the "standard" second by which we pace our busy daily lives. Would music, in general, be played faster? Would TV shows be shorter? Would people walk faster?
Dies Centi, which is one metric hour (1/100 of a day) long, is essentially two versions of the same piece played simultaneously. The form of one version is based on our standard time system and features tones which beat once per "regular" second, and the form of the second version is based on the metric time system with tones heard once every metric second. When played simultaneously, the two pulses form a complex polyrhythm which lines up every 108 standard seconds. These points of coincidence are used as major structural points in each of the two forms, giving the overall piece a sense of cohesion despite the disparity between the metric and standard rhythms.

  · Harry Castle/UCSD Music, CRCA Researcher
  · Clay Chaplin, CalArts

Performing an audio visual collage that is structured around the idea of instant replay or time displacement using a live camera input from within the space. Micro time events ( from the last five minutes or a minute ago rehashed/replayed/altered) juxtaposed with more macro time events already found in the space.(sun rise/ sun set).

  · Nathaniel Clark/UCSD Visual Arts

STORM -- Sonic Transformations Of Real-time Meteorologia

Overview: Project will manifest an aural "map" of meteorological energies- from remote locations- inside the Timeforms space. Receiving data from a NOAAPORT stream via internet in near real-time, a small module-path would then reorganize the numbers for use in computer sound generation, ultimately sculpting loosely recognizable, though abstracted, analogues of weather-event patterns. With the quantity of similar data available through web-based updates, this project could easily be linked to other sensor-arrays detailing, for example, oceanographic data- as the Timeforms event has been chosen to last from high tide to the next high tide.

Relation: Time is change. Time is motion. Time is the succession of states bearing the memory of previous forms and the implication of future forms. Our experience of time is a catalogue of a network of changing events. Weather is an unpredictable, continuously evolving matrix of dependent factors that, as a system of energies continuously received, shapes and nourishes all other events in material existence. The appeal falls easily into duality: it is both the watershed and the ambience, the foreground and the backdrop, and it generates itself unendingly anew and is ceaselessly present.
This exposition of patterns of growth, evolution, and change, seems an elegant thread, or persistent subtext, to weave into the concept of the time-conscious evening.

Time: This is to last the duration of the event, creating a data-map in near-real time.
Data-stream and audio modules will be constructed by Nathaniel Clark.
Data breakdown and reconfiguration modules will be constructed by Jon Phillips.

  · Brian Goeltzenleuchter/UCSD Visual Arts

"Mortal Culture: Venus Birdfeeder"
Part One: The fabrication of an object resembling Venus de Milo (minus the head), made of pure birdseed, cast in edible, bird-friendly adhesives. The work takes up this notion of time by allowing nature to playfully deconstruct one of European culture's most timeless and recognizable icons. The ephemeral quality of the birdseed contradicts the seemingly eternal quality of the original marble. It doesn't taunt nature's ability to destroy. Rather, it gracefully disintegrates as it feeds nature, preserving its beauty and creating a memory unlike any other for the bird watcher. Part One began on April 1, 2002 on CRCA's east deck.

  · Sean Griffin/UCSD Music, CRCA Researcher
Basic description: A woman in housedress performs an extended, complex, choreographed, formal, sonic and gestural deconstruction of the game pattycake.
Pattycake explores a post-structural and minimalist deconstruction of the child‚s game pattycake. By separating and isolating simple gestures and sonic elements of the game over the course of 45 minutes this projection reveals the marking of periodic time both microscopically by the isolated gestures and sounds, and macroscopically by the separation of these gestures into fields of discrete activity. In this actor‚s portrayal of this rhythmic game, perception is shifted from the simplicity of the game to the durative structure of the piece. The dramaturgy of the piece explores the redundancy of the domestic child-rearing space and rote teaching in the context of formalist art. Inspired by a nostalgia for the short formative video works of the likes of Martha Rosler and Adrian Piper, this piece expands the reading of domestic structures into an extended time frame rendering blank the meaning of our most simple games and expanding our notions of home camera monitoring.

  · Nicholas Hennies, Greg Stuart, Bill Boyer and Don Nichols/UCSD Music
"metal, stone, skin, foliage, air" - Jürg Frey
Metal, Stone, Skin, Foliage, Air is a composition for percussion quartet by the Swiss composer Jürg Frey and was composed over the years between 1996 and 2001. Frey is one of the most famous and active members of the new music community in Switzerland, working as a composer, clarinetist, and organizer of the concert series Moments Musicaux. In April of 2002 Mr. Frey will be in residence at the California Institute of the Arts and he has agreed to visit UCSD on the weekend of April 20th for the world premiere performance of his percussion quartet. The performance will be given by UCSD graduate students Nicholas Hennies, Greg Stuart, and Bill Boyer as well as percussionist Don Nichols in the Visual Arts Performance Space across from CRCA. It is a happy coincidence that the Time Forms event is on the same day that we had planned to premiere his percussion quartet, as the piece is directly related to the theme of Time Forms.

Almost all of Frey's music is concerned with the passage of time and how sound and music operates within space and time. Metal, Stone, Skin, Foliage, Air is 67 minutes in length; the players are unison for almost the entire piece. They move together from one sound world to another; from one type of material (metal, stone, skin, foliage, and air) to another. Michael Pisaro has said that Frey's music almost always begins with two as a kind of music concept:
"A piece begins with something - some group of similar sounds, or some manner of performance; and then, without warning, reason, or justification, simply changes to something else. It does not matter that this might happen several times in a piece. No matter how many times it occurs, it always, in the moment in which it happens, means 'two'. It breaks off a composite past (a succession of moments which, in retrospect, become part of a single stream) from an uncertain future."
In short, Metal, Stone, Skin, Foliage, Air is a major work in the artistic development of this fascinating composer and is also a landmark piece within the repertoire of music for small percussion ensemble.
Again, Nicholas Hennies, Greg Stuart, Bill Boyer, and Don Nichols will perform the piece. Mr. Frey and Michael Pisaro will also be present for the performance.

  · Carol Hobson/CRCA Admin. Director, UC DARNet Manager
  "Cycles of Energy"
"Cycles of Energy" is a video installation based on the Chinese healing approach of working with organ energy flows through the body's meridians. Within this holistic dogma there are twelve organ flows that begin at 4:00 a.m. and continue through 24 hours. Each organ has energy flowing through its entire meridian for a 2-hr. period in every day. The energy cycle moves from the superficial level to the deepest levelsof the body, returning to the main central flow and begins again at 4:00 a.m. in the lung meridian.

  · Matt Hope//UCSD Visual Arts and Jonathan Phillips/UCSD Visual Arts, CRCA Researcher, Cal(IT)2 New Media Arts Fellow

Time is a necessary component of unfolding global news. Through the viewing and harvesting of live cable streams, and streaming news media, specific frames of time will be catalogued, mixed, and then projected onto a screen outside of CRCA. This live "newsmix" will be created by IMMEDIANCE through audience interaction from an online and a physical installation space whereby media fragments are recomposited and remixed, akin to a DJ mixing audio, or a jazz performer improvising. Also, the mixing will be webcast via the internet as a new composite. In many ways, the news as instant history and instant gratification for the viewer is a corresponding measure of time.Beyond the quantitative measure of time, the qualitative form and remixing of news events is how we view time for TIME FORMS.
Length of Piece: We would like our piece to be projected for the entire event-10 hours. The duration of our piece fits TIME FORMS due to how news and more specifically news channels block off reports in 30 minute segments. Ideally we originally wanted to newsmix for a solid 24 hours to represent a news cycle of reporting. By tapping into the entire length of the event, the 10 hour duration will act as synechdoche for the omnipresence of the news.

  · Shane Hope/UCSD Visual Arts, CRCA/UC DARNet researcher

I, Shane Hope, do hereby certify and declare as follows:
(1) I hereby claim as a declared timestead the time in , and more particularly described as follows: [Give complete description]
(2) I am declared timestead owner of the above declared timestead.
(3) I own the following interest in the above declared timestead:
(4) The above declared timestead will be my principle time and I will exist within the declared timestead.
(5) The facts stated in this Declaration are true as of my personal knowledge.
On Saturday, April 20, 2002, 6 p.m. - 4 a.m @ CRCA, #408 UCtr, this Timestead Declaration will serve as "an experience in, a perspective upon, and most of all a compelling and distinctive manifestation of the shaping of time."

  · Jeffrey Perkins/NYC

Audio piece presenting recorded interviews while working as a New York city taxi driver.

  · [mama], a Net Culture Club in Zagreb, Croatia
  DJ mix and sunrise stream

  · Dan Martinico, UCSD Visual Arts

"Just Jimmy"
A visual and temporal play on the classic Hitchcock film "Rear Window". The film is presented with only images of James Stewart preserved.

  · Jordan Mena and Vincent Tarango/UCSB Media Art and Technology Program

  · Lisa Moren/Imaging and Digital Arts with Carol Hess/Dance and Tim Nohe and Sara Seeley, University of Maryland Baltimore County, and Clay Chaplin/CalArts

  · Kazushi Mukaiyama/Kobe, Japan
  "Sunset stream"

  · Jonat8han Snipes/UCLA Hypermedia Studio

"non-destructive time editing"

conceptual motivation: "non-destructive time editing" is an audio processing installation that plays with cyclical time in an additive rather than a destructive way. Most cyclical or circular ideas of time involve the new time "overwriting" or "replacing" the old time. I wanted to explore the idea of new time simply merging with old time. Therefore, slowly the happenings inside time become more and more chaotic. More is happening simultaneously, so it is more difficult to pick out individual events from the experience. Eventually only chaos will remain. It is as if everyone were to live their lives simultaneously.

On top of this, I thought it would be interesting if in addition to time being a tightly coiled spring, it was also coiled spirally. So that the further along (temporally) one traveled, the smaller the loop became. So eventually, everything that has ever happened not only continues to happen for eternity, but happens in a shorter and shorter time as time progresses.

Implementation: There will be one or more microphones picking up the ambient sound of the surrounding area, channeling it back live and capturing it into a computer. Custom-written software in MAX/MSP will take these recordings, time-compress them, and loop them back on each other.

  · Naomi Spellman/UCSD Visual Arts Lecturer and CalArts faculty

"Right as Rain"
Project Description: I have a friend who is a weather junkie. He darts outside if there are clouds, to see the type of cloud and direction of the wind. He drives to the coast to watch an incoming storm or hail. When he's at my house, he gets on the DSL and spends an hour fixated on live weather satellite data. His devotion is not unlike love. It's unconditional love, because no matter what the weather, he watches and waits, every single day.
The connection between love and weather is unmistakable. Love blooms in the spring. Love may come in a flood of emotions, it may be cold as ice, one may blow hot and cold, a relationship may be stormy, one may be stuck in a draught, the clouds may have a silver lining or a black cloud may float over your head. Likewise, our rhythms follow the tides. Women's reproductive cycles mirror the moon and tides. Our night and day fluctuates with tides, as does our season and weather.
Right as Rain is a live data driven narrative. It utilizes current weather information from online resources in different cities. The user chooses from a list of URLs that give weather data in different cities. Temperature, wind speed, barometric pressure, humidity, cloud cover, time and frequency of high and low tides, all these data points are parsed and relayed to the text engine, which updates our Narrative according to these changes. For example, barometric pressure may influence stress-related details in the text, temperature may influence how hot or cold a relationship runs. In particular, high and low tides elicit acute shifts in the narrative. Right as Rain is a micro model of love and its connection to life forces.
With Jeff Knowlton-- concept and programming and Jeremy Hight--concept and writing.

  · UCLA Design | Media Arts seminar: Kimberly Hager, Namrata Mohanty, Meghan Newel, Dolores Rivera, Adriana de Silva, Ashok Sukumararn and Fabian Winkler; Victoria Vesna, Chair and UC DARNet member as advisor

  · Rob Wannamaker/UCSD Music
  "Phase Diagram" (2000; ~17 min)
"Phase Diagram" for contact microphones and turntable. The piece is in three sections, each of which differently exploits the clattering of homemade contact microphone elements against the moving surface of a phonograph turntable. Among other things, the piece explores the low frequency limit of auditory pitch perception where timinginformation gives way to tonal sensations (i.e., at which repetition becomespitch and phasing becomes beating).

  · Yuriko Watanabe/UCSD Music
  An Experimental Confession: Dialogic Space and Time for Utopia

Music, visual arts and letters which I encounter in my everyday life awaken my memory of the past. Trivial fragments of the pieces stimulate my nostalgic feelings of the past, however, this nostalgic emotions can not be maintained for a long time, various kinds of sound such as machinery noise, dialogues among my unknown people undermine my concentration on the spiritual experiences gained through the fragmented artistic objects. During this process, I attempt to give myself a different direction which enables me to retrieve my imaginative sphere. Until I meet with this ideal sphere, I experience several kinds of "Others," which might be mysteriously positioned in my inner parts. My encounter with various "Others" is achieved through the physicalization of the fragments into my own body.

Here I raise a question. How long do I keep this freedom after assimilating "Others" into my self-hood which has been continuously constructed and deconstructed in the flowing time? In addition, How can I measure the quick process of transforming fragmented "Others"? How long can I endure the frequent facing "Others" to attain my ideal state? Do the repeatedly emerging "Others" invoke dreadful trauma which would be deeply inscribed on my body?

In this experimental project, I seek for the imaginative utopia and freedom brought from my incessant transformations within the extent of the maximum time (which will not weaken my concentration) This travel for dreamy and utopian sphere is shown through the dialogic narratives between my inner self and outside "Others" in a theatrical manner with various artistic elements such as the representation of my experiencing music, visual objects(paintings, drawings and paintings through the overhead projector) and letters in published readings.Additionally, I intermittently present an improvisatory piano performance which might help me to escape from multiplicity as a result of communications through the dialogic expressions as well as the newly develop communicative pattern and time framework.

  · Ruth West/UCLA Design Arts
  Project #1 Title: "Stars" ==> link
Medium: Interactive sound installation
Dimensions: 18" x 18" x 40"
Concept: "Stars" is an interactive sound installation that transforms astronomical data, in the form of full hemisphere maps of the night sky at midnight printed on to 12" vinyl LPs, into unique yet repetitive tonal patterns. This unlikely rendition of the "Music of the Spheres" is a synthesis suggestive of both radio astronomy recordings and the nostalgic experience of listening to music on a worn vinyl LP. The strange, yetsomehow familiar, music mediates the relationship of the astronomical data to the history of its production through the content of the LPs, encodes a specific time in each stellar maps (latitude, longitude at midnight), and evokes the cosmological nature of time. Each LP represents one of several women members of the Harvard College Observatory, collectively known as "The Harvard Computers." Working between 1886 and the 1940's, this little known group of women astronomers is responsible for the development of schema for indexing and classifying stars by their spectra and for generating voluminous catalogs of stellar data. Their work forms the basis for the majority of the stellar maps in use today, and is the foundation for the maps used to generate the LP disks for the installation.The disks represent some of the more famous women astronomers of the 19th and 20th Century, Annie Jump Cannon, Williamina Fleming, Margaret Harwood, and Antonia Maury who were part of the group. The absence of disks for the other members of the group is reflective of the then prevailing social attitudes towards women in science which resulted in many of them falling away into obscurity despite the significance of their contribution. This historical referent is only subtly visually evident. It is coded in the label for each LP, which consists of an emblematic stellar spectrum, the name of one of the women, their date of birth, or death, and the location, expressed as latitude and longitude. It is also encoded in the sound compositions, which seem whimsical and nostalgic, yet are the transcoding of the lives of these women through the data they generated in to their own unique sound.

Description: One of several 12" vinyl disks, reminiscent of an old LP, containing the images of stars in the night sky, is placed upon a slowly rotating turntable platter. As the sensor arm reads the unique dot pattern on the disk surface, it is simultaneously transformed in to a sound composition. The moveable sensor arm allows for disks to be interchanged. The dot patterns on each disk are generated from astronomical map data showing the position and relative luminance of stars. They correspond to the full hemisphere night sky for a specific date, latitude, and longitude, at midnight. The dates and locations used to create the disks represent the birth or death of several of the women members of the Harvard College Observatory, collectively known as "The Harvard Computers."

Technical: The "Stars" installation comprises a slowly rotating turntable, a movable sensor arm, an EZI/O interface board, a Macintosh computer and two speakers. One of a number of 12" vinyl disks can be placed onto the platter, and the sensing arm, which is held 1/8th of an inch above, reads the unique pattern of white dots. The sensing arm itself consists of an aligned array of eight LED-Phototransistor pairs. Each pair measures the amount of incident light on the phototransistor, as reflected by the dots on the disk moving underneath. The output of each circuit is represented as a varying voltage, which is fed into the EZI/O's analogue to digital converter.The EZI/O is connected to the Macintosh via a simple serial connection, allowing the computer to process the sensors' readings as 8-bit values. These values are used to generate sound. Processing is achieved using the Lingo programming language in Macromedia Director v. 8.5.

Duration: The installation can run continuously, or for a shorter period.


· Ruth West - Project #2
Title: "timen = inspiration2" (inspiration squared)
View PDF verision here
Medium: net art
Artists: Ruth West and Ingo Tributh
Affiliation: UCLA Design|Media Arts
Concept: Feel like you need more time sometimes?

Ever thought what it would be like to buy time? Well, now you can.

We present an online experience where individuals create an alternate identity and go on a shopping spree for time. The system creates a price for multidimensional time based on the economic characteristics of the avatar identity. The collective activity of all avatar identities over time drives the price up or down for the various asynchronous time products, so the individual affects the whole and vice versa. Ultimately "timen = inspiration2" asks the questions, "What are we willing to pay to acquire multidimensional time or consciousness?" and "Is this something we want?"

"timen = inspiration2" is an online experience where people can buy time- with a twist. You can shop for time to add to your continuum or take a leap into multiple parallel experiences of time. You can choose from items like "if only" time that allows you to go back and do all the things you would have if you only could have.... while you are also here in the present. You can also simply add an Nth hour to your day, or purchase immortality. Take your pick... and we'll give you a special price all your own. Then with the speed of e-mail we'll send your Inspiration particles to you in a handy titanium vessel.

Our social and economic structures require that we sell our time in order to buy time for our life. Shopping for time confronts us with how we value time, what it would feel like to be a human being that is no longer time-limited, and with the socioeconomic norms that equate time with money. The "timen = inspiration2" experience allows people to choose how to acquire time. They have two choices: the "old-fashioned" way by consuming human-extensions such as the timesaving devices currently available on the market or the "new and improved" way by consuming asynchronous time. When you choose to save time through consumerism you are acquiring one dimensional time (t1). When acquiring asynchronous time you are consuming multidimensional time (tn). We offer both experiences online.

Since your shopping spree for time is uniquely tailored to the alter ego that you create, you can return several times and ponder these questions as various identities, with differing opportunity costs associated with each life. Opportunity cost is an economic concept that directly equates time to money in human terms. We usually do not think about this, but each of us is used in these kinds of calculations that express the value of our life's time as a cost per hour.

We are also asking you to imagine what it would be like if you could hold your consciousness in various dimensions at once. Is this something that enhances our human experience? Do we even want this? Would it be worth it to us no matter what the price or is there a point where more time and parallel experiences is not worth paying for? What if you had unlimited financial resources and could buy immortality, is this truly appealing? What would be the ramifications for the human psyche?

Visit "timen = inspiration2" and create an alter ego to explore what it would be like if you could experience life in multidimensional time.

  · Pei Xiang/UCSD Music, CRCA researcher,
Cal(IT)2 New Media Arts Fellow
  "The Pendulum" (for video and spatialized sound)
Overview: Time flows like the endless motion of the pendulum -- steady, stable and providing you a sense of peace and unlimited space. Upon this theme, "The Pendulum" attempts to create a balance between video and spacialized sound, where the termination of image is going to continue in the audio space, and visa versa.