Hi Curt & List,
On Mar 27, 2014, at 11:54 PM, Curt Cloninger wrote:
> As a theorist, I "interpret" this work as simply accelerated and
> foregrounded "grammatological" slippage ('puters are good for
> accelerating failures). But probably (more or less) the way all
> present tense historical utterances pull from the past and lead to
> the future. Kind of. Maybe. In a way.
>
Here's a piece I did in 2002 called Brecht Machine. It uses text
to speech Translation and speech to text over the internet.
http://nujus.net/~nujus/gh_04/gallery8.html
The number of works done with these types of technology could be an
exhibition in and of itself. Each one has a personal set-up and
unique point of view engendered by the artist and audience. It's
sort of similar to making a group show of portrait paintings. They
all use the same technology. Probably the Grandaddy of all these
types of work is Ken Friedman with his animatronic head that has a
Turing Test type discussion with you about whether or not he really
exists.
Another work I did in collaboration with Peter Sinclair was the
soaPOPera for Laptops and the SoaPOPera for Imacs. <http://nujus.net/
~nujus/gh_04/gallery3.html> We used text to speech a voice
recognition to have the computer talk to each other and perform. In
laptops version they were on radio controlled cars and for the Imacs
version they were seated in a living room carrying on a
conversation. We also performed on stage with the "Synthespians."
We'd play guitars and they would sing along. Max msp has a pitch
tracker object that allows the program to follow notes it hears and
sing them back with words. We did a mean version of an old Chuck
Berry tune and some noise music!
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