Twitterbot TeaParty: Ready, Set, _Bot

My first twitter bot is active: @door_mouse_bot

The non-sequitur twitter bot was made according to a tutorial by Lauren Orsini.

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Twitterbot Tea Party

Elevator Pitch

“Twitterbot Tea Party”
NEU IDV | Spring 2016  | Studio 2 Final Proposal

In the vein of legendary @horse_ebooks twitter bot, I am proposing an analysis of twitter bot algorithms performed in succession to discern how a bot’s semantics and sentimentality shift away from cognition.

A chain of three twitter bots will take reference to my personal twitter account, and transform the language into new form, and will then serve as subject for the next bot. In this process I will map out the algorithmic underpinnings and how they manifest as behavior (of which could potentially pass as free-thinking).

 

Structure

@PeeJayOh: “Alice”

catalyst, reasoning, logical, empathy

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@door_mouse_bot: “Doormouse”

reactionary, mimicry, kowtow

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@march_hare_bot: “March Hare”

??? [characteristics]

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@mad_hatter_bot: “Mad Hatter”

??? [characteristics]

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{@???}

My project plans to explore linearity of these obscure technical processes behind twitter bots, in effort to better approach circular structures, hierarchical structures, system structures, and behavioral structures.

Mapping Strategies: Final Project Proposal

INSPIRATION

Robert Shattuck, on Proust:

“Relativity tells us that no object by itself has either definable or measurable velocity. Two objects are required to yield a relative reading, and there is no universal grid like the ether to give an absolute figure. An object can be described as located somewhere and in a certain motion only in reference to what is about it. And so it is also with memories and experiences.

to see is to see against or beside something else

everything is perceived in clusters, each framed by another

proposal3 3

SIREN

  • performance piece by Ray Lee initially performed in 2007
  • installation of large sound sculptures
    • metal tripods
    • rotating arms that emit electronic drones
  • “create a hypnotic composition”
    • audio visual spectacle / live experience
    • Wherever you stand in the space it sounds different.
    • As the arms rotate, the sound pulses past the listener with a Doppler-like effect
    • minimalist phasing of the rhythmic pulses
    • a constantly evolving polyrhythmic structure.
    • series of overtones that evoke the sense of an ethereal choir

 

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BUDDHA MACHINE

by FM3 in 2005

  • generative music maker
    • layering loops of ambient sound
    • named: popular Chinese device that intones repeating loops of Buddhist chanting
  • size of a pack of cigarettes
    • >3 editions exist now, with different loop settings
  • described as “poetic noise,” & “confrontationally tranquil,” & “engagingly intimate.”
  • “… a transistor radio sized device that plays endlessly changing sounds, chosen by the program, from a given set of notes and sounds. There is, as one would expect, no arc to these compositions—no beginning, middle and/or end. They are merely states of being, not substitutes for narrative. These indeterminate scores can be viewed a bit like the literature that emerges out of oral traditions—the great epics and sagas.” – David Byrne

 

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LUIGI RUSSOLO’S  THE ART OF NOISE

  • Futurist manifesto published in 1913
  • Sound is defined as the result of a succession of regular and periodic vibrations.
  • Noise is instead caused by motions that are irregular, as much in time as in intensity.
  • “Every manifestation of life is accompanied by noise. Noise is therefore familiar to our ears and has the power of immediately reminding us of life itself.” – Luigi Russolo

PROPOSAL

“meditative memory map”

  • Record dynamic noises (as defined by Russolo)
  • Focus on how things are framed in relation to each other
    • Inter-aural Level Differences
    • Inter-aural Intensity Differences
    • Start/Stop
  • Generative music dictated by patterns
    • transform sonic clutter into a meditative map
    • the tracks of mediative music buffer the clamorous sonic nature of live perceiving. A memory is softened and fluid compared the urban cacophony of transit systems.

CONCEPT MAPPING

How does sound and memory relate?
How does generative music relate to memory?
How could memory rehearsal and recall be translated into algorithms and rules for music?

e.png

While an innovative idea, generative programs are still very demanding of programmers and musicians. A specific instance of such a piece of music was then proposed.

Acoustic Scene Analysis was the subject of Memory Tests as shows the diagram below:

a.png

A proposed interface that links waveform, actual audio, temporal-shifted audio, and spatial location:g.png

f.png

A final sketch of the score of temporal-shifted audio:

odonnel_Acoustic_Memory 14.png


<p><a href=”https://vimeo.com/153959298″>SUBJECT 6 – 3D 2HR 32M AGO</a> from <a href=”https://vimeo.com/user45445065″>Patrick J. O'Donnel</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>