User:ØverLørd/Special Issue 22 - Revision history

ØverLørd: centered content

2024-04-01T19:22:48Z

centered content

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	='''Personal Notes on Special Issue 22: <br> Protocols for an active archive'''=		='''Personal Notes on Special Issue 22: <br> Protocols for an active archive'''=
	<div style="max-width:80ch">		<div style="max-width:80ch; margin:auto;">

	''Through '''SI22 protocols for an active''' archive we explored community radio and community archives…		''Through '''SI22 protocols for an active''' archive we explored community radio and community archives…

ØverLørd: revised som more text

2024-04-01T18:56:49Z

revised som more text

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	As the envisioned setup was not longer possible we made some adjustments. As the transmitters had a built in microphone, we let one of the more reliable transmitters, installed in the ceiling (that could easily be tuned in to with the supplied receivers) pick up the audio from the space and then transmit it over the FM-net. This way the project stayed true to the ideas of community radio, as the space, the collection of people, their noise was broadcasted locally.		As the envisioned setup was not longer possible we made some adjustments. As the transmitters had a built in microphone, we let one of the more reliable transmitters, installed in the ceiling (that could easily be tuned in to with the supplied receivers) pick up the audio from the space and then transmit it over the FM-net. This way the project stayed true to the ideas of community radio, as the space, the collection of people, their noise was broadcasted locally.
	<br><br>		<br><br>
	In extension of this, the reliable transmitter was taken down from the ceiling during the broadcast (during the event). A radio tuned to the same transmitter, was handed to the caretakers in radio studio. Then the transmitter and its built in microphone was used to conduct some interviews of some participants of the event. In other words we broadcasted radio from the wunderbar into the studio which was then broadcasted on worm community radio.		In extension of this, the reliable transmitter was taken down from the ceiling during the broadcast (during the event). A radio tuned to the same transmitter, was handed to the caretakers in radio studio. Then the transmitter and its built in microphone was used to conduct some interviews of some participants of the event. In other words we broadcasted radio from the wunderbar into the studio which was then broadcasted on worm community radio. These interviews could also be heard by other participants at the event, creating this very intimate yet unpersonal broadcast
	<br>		<br>
	[[File:listen5.jpg\|600px]]		[[File:listen5.jpg\|600px]]

ØverLørd: /* Listen Closely */ added text and image

2024-04-01T18:54:09Z

Listen Closely: added text and image

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 <br>
 The installation was part of the event at worm for the release of SI22. The event was structured around a fiction of an apocalypse. We decided collectively to formulate a metaphor as a framework for the launch-event. Through protocols for collective decision making the metaphor of apocalypse was chosen, in relation to this everyone was asked to write down a couple of thoughts on how we would envision the event, in light of the metaphor, as an exercise to get a clearer idea of what the event could be, the following is my entry:
 <br>
 ''What I imagine the SI22 would uncover is the remains of our very brief encounter with Radio worm. Abruptly in September we were introduced to this platform in order to explore protocols for active archives, and just as abruptly we are now coming to the end of this process. Through this process we have been producing, processing and consuming the contents of the worm Archive. Therefore it makes sense to highlight all these aspects of communal archiving.''
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 <small>Photo from the event at worm</small>
+<br><br>
-The event:
+This project began during a lecture about amateur/pirate radio. Some of the material presented contained instructions on how to build a small portable radio transmitter. The idea was that this could be constructed from easily sourced electronic parts. As the landscape of micro-electronics has since changed, these parts are not as readily available as they once were. Fortunately it was possible to order pre-made sets containing all the components required to make a small FM-transmitter, as well as a custom PCB-board to mount them on.
+<br><br>
-The apocolypse archiving as a way to ensure survival, or to govern survival.
+So what potential lies in these small FM-transmitters? The initial idea was to set up multiple of these transmitters in the same secluded space, set them to transmit on the same frequency, this way the movement though space would determine what a "spectator" with a receiving-device set to the same frequency, would receive. In a way this turns the idea of radio on its head – as something far reaching, able to create common moments across great distance – Instead radio becomes something local and personal.
 ==fragmented recollections:==

ØverLørd: /* Broadcast #1 */ changed image width

2024-04-01T16:58:22Z

Broadcast #1: changed image width

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	===Broadcast #1===		===Broadcast #1===

	[[File:Broadcast1.jpg\|~~800px~~]]		[[File:Broadcast1.jpg\|600px]]
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	<small>Picture from the studio @ radio worm, During the first broadcast</small>		<small>Picture from the studio @ radio worm, During the first broadcast</small>

ØverLørd: /* Listen Closely */ elaborated on the SI22 evnet

2024-04-01T16:57:34Z

Listen Closely: elaborated on the SI22 evnet

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 ''Audio spatial installation – FM transmitters and Receivers
 '''Radio waves are agents for public commons. Resonating through communities tuning people together. they mediate through space and time disregarding borders and penetrate barriers. It can reach far beyond where any human will ever go, traveling at the speed of light towards eternity.'''
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 '''''So take your time, and listen closely.'''''
 [[File:Listen2.jpg|600px]]
 <br style="clear:both;">

ØverLørd: /* Listen Closely */

2024-04-01T16:26:31Z

Listen Closely

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	''Audio spatial installation – FM transmitters and Receivers		''Audio spatial installation – FM transmitters and Receivers

	~~Radio waves are agents for public commons~~. ~~Resonating through communities tuning people together. they mediate through space and time disregarding borders and penetrate barriers. It can reach far beyond where any human will ever go, traveling~~ at the ~~speed of light towards eternity.~~		[[File:Listen1.jpg\|300px]]
			<br style="clear:both;">
			<small>A transmitter installed at worm as part of the installation</small>

	~~By organizing multiple FM transmitters in a confined~~ space and ~~tuning them to the same frequency, an isolated ecosphere of electromagnetic waves is induced~~. ~~This choir of radio senders grow wary of the spatiality~~, ~~interfering and intertwining with each other. To receive~~ the ~~hymn~~ of ~~the FM signals, equip yourself with a receiver~~. ~~Let your movement in space be the interface in which you engage with the signals, and experience the proximity of the radio~~		'''Radio waves are agents for public commons. Resonating through communities tuning people together. they mediate through space and time disregarding borders and penetrate barriers. It can reach far beyond where any human will ever go, traveling at the speed of light towards eternity.'''

	~~So take~~ your ~~time~~, and ~~listen closely.''~~		'''By organizing multiple FM transmitters in a confined space and tuning them to the same frequency, an isolated ecosphere of electromagnetic waves is induced. This choir of radio senders grow wary of the spatiality, interfering and intertwining with each other. To receive the hymn of the FM signals, equip yourself with a receiver. Let your movement in space be the interface in which you engage with the signals, and experience the proximity of the radio

			'''''So take your time, and listen closely.'''''

			[[File:Listen2.jpg\|600px]]
			<br style="clear:both;">
			<small>Photo from the event at worm</small>

			The event:

			The apocolypse archiving as a way to ensure survival, or to govern survival.

	==fragmented recollections:==		==fragmented recollections:==

ØverLørd: added section for listen closley

2024-04-01T16:07:05Z

added section for listen closley

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 <br style="clear:both;">
 <small>Cross hatched photography from a personal phone-library</small>
 ==fragmented recollections:==

ØverLørd: /* On Nothingness, Un-archiving & Loss */

2024-04-01T15:18:00Z

On Nothingness, Un-archiving & Loss

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	<br>		<br>

	[[File:Nothingness.jpg\|~~400px~~]]		[[File:Nothingness.jpg\|600px]]
	<br style="clear:both;">		<br style="clear:both;">
	<small>Cross hatched photography from a personal phone-library</small>		<small>Cross hatched photography from a personal phone-library</small>


	==fragmented recollections:==		==fragmented recollections:==

ØverLørd: added image to text about nothing

2024-04-01T15:16:35Z

added image to text about nothing

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	From this thought experiment we can deduct that the experience of loss can offer a moment to step back and reflect on what to hold on to. It opens up for the new and alternative, expanding the liminal between something and nothing, adding another dimension of reference. Therefore we shall reminisce on all that was lost and un-archived, as it intrinsically forms what is and what remains.		From this thought experiment we can deduct that the experience of loss can offer a moment to step back and reflect on what to hold on to. It opens up for the new and alternative, expanding the liminal between something and nothing, adding another dimension of reference. Therefore we shall reminisce on all that was lost and un-archived, as it intrinsically forms what is and what remains.
	<br>		<br>

			[[File:Nothingness.jpg\|400px]]
			<br style="clear:both;">
			<small>Cross hatched photography from a personal phone-library</small>


	==fragmented recollections:==		==fragmented recollections:==

ØverLørd: added entry for text about nothingness

2024-04-01T15:08:37Z

added entry for text about nothingness

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 <br><br>
 A first hand encounter with these kinds of concerns was at worm, where they work with chemical film production(?), techniques used to make blockbusters for half a century, now obsolete in the CGI-paradigm of filmmaking today. A lot of the knowledge have already been lost to time, so at worm they are experimenting in order to (re)discover the medium, whilst keeping it alive. Another aspect to the challenges of working with obsolete media is the fact that it might be hard to come by, as ''.com''-bubble already burst and the factory is bankrupt. Thus they are not only required to maintain the knowledge of operating the equipment, but also re-invent recipes suited for the small scale laboratory that conducts this research.
 ==fragmented recollections:==