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| projects:archive [2023/09/03 07:53] – chris | projects:archive [2023/10/03 04:27] (current) – 147.47.244.156 |
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| {{:projects:record-diagram.jpg?direct&600|}} | {{:projects:record-diagram.jpg?direct&600|}} |
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| > The information in the upper right-hand portion of the cover is designed to show how pictures are to be constructed from the recorded signals. The top drawing shows the typical signal that occurs at the start of a picture. The picture is made from this signal, which traces the picture as a series of vertical lines, similar to ordinary television (in which the picture is a series of horizontal lines). Picture lines 1, 2 and 3 are noted in binary numbers, and the duration of one of the “picture lines,” about 8 milliseconds, is noted. The drawing immediately below shows how these lines are to be drawn vertically, with staggered “interlace” to give the correct picture rendition. Immediately below this is a drawing of an entire picture raster, showing that there are 512 vertical lines in a complete picture. Immediately below this is a replica of the first picture on the record to permit the recipients to verify that they are decoding the signals correctly. A circle was used in this picture to ensure that the recipients use the correct ratio of horizontal to vertical height in picture reconstruction. The drawing in the lower left-hand corner of the cover is the pulsar map previously sent as part of the plaques on Pioneers 10 and 11. It shows the location of the solar system with respect to 14 pulsars, whose precise periods are given. The drawing containing two circles in the lower right-hand corner is a drawing of the hydrogen atom in its two lowest states, with a connecting line and digit 1 to indicate that the time interval associated with the transition from one state to the other is to be used as the fundamental time scale, both for the time given on the cover and in the decoded pictures. | > Pioneers 10 and 11, which preceded Voyager, both carried small metal plaques identifying their time and place of origin for the benefit of any other spacefarers that might find them in the distant future. With this example before them, NASA placed a more ambitious message aboard Voyager 1 and 2, a kind of time capsule, intended to communicate a story of our world to extraterrestrials. The Voyager message is carried by a phonograph record, a 12-inch gold-plated copper disk containing sounds and images selected to portray the diversity of life and culture on Earth. |
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| >The Golden Record Cover, Nasa Jet Propulsion Laboratory | > Voyager: The Golden Record, NASA |
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| Carl Sagan, astrophysicist and media figure, oversaw the committee at NASA that created The Golden Record. The Golden Record was meant to be a time capsule for all humanity, communicating the story of Earth and its inhabitants to extraterrestrial life forms, who might find it when launched into space. Launched into orbit via the Voyager 1 and Voyager 2 spacecrafts in 1977, each sound and image on the record was meticulously chosen to best represent humankind – with special care taken to the records notation to explain its function without a need for written language. Like the authors of the Golden Record, in this project you encapsulate a piece of our present reality, collecting an archive of materials to reinterpret via their presentation and arrangement. | Carl Sagan, astrophysicist and media figure, oversaw the committee at NASA that created The Golden Record. The Golden Record was meant to be a time capsule for all humanity, communicating the story of Earth and its inhabitants to extraterrestrial life forms, who might find it when launched into space. Launched into orbit via the Voyager 1 and Voyager 2 spacecrafts in 1977, each sound and image on the record was meticulously chosen to best represent humankind – with special care taken to the records notation to explain its function without a need for written language. Like the authors of the Golden Record, in this project you encapsulate a piece of our present reality, collecting an archive of materials to reinterpret via their presentation and arrangement. |
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| Imagining a world doesn’t mean you need to go into the realm of science fiction or fantasy. In fact, most science fiction and fantasy derive much from their basis in the “real” world – referencing and reinterpreting historical events, engaging mythical archetypes, and building on accepted theories, to create their universes. In this project you will take the first step in world building, and collect an archive of existing images/sounds/videos/objects to work with. | Describing a world doesn’t mean you need to go into the realm of science fiction or fantasy. In fact, most science fiction and fantasy derive much from their basis in the “real” world – referencing and reinterpreting historical events, engaging mythical archetypes, and building on accepted theories, to create their universes. In this project you will take the first step in world building, and collect an archive of existing images/sounds/videos/objects to work with. |
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| {{:projects:drop-city.jpg?400|}} | {{:projects:drop-city.jpg?400|}} |
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| * Construct an archive of existing signs and symbols that point to an alternative reading of their accepted definition. | * Construct an archive of existing signs and symbols that point to an alternative reading of their accepted definition. |
| * Example: A collection of the sounds needed to train a computer to speak in all languages | * Example: A collection of the sounds needed to teach a computer to synthesize human speech in all languages |
| * Present the archive to us in a navigable and interesting way | * Present the archive to us in a navigable and interesting way |
| * Examples: A website where these sounds can be played, reassembling them in random orders | * Examples: A website where these sounds can be played, reassembling them in random orders |
| **Subject Matter – 1 week**\\ | **Subject Matter – 1 week**\\ |
| Choose your subject matter – create a 5 minute presentation describing the topic you’d like to explore through archiving/world-building. Your presentation should contain images related the subject matter, and provide context for the viewer to understand where your interest stems from. | Choose your subject matter – create a 5 minute presentation describing the topic you’d like to explore through archiving/world-building. Your presentation should contain images related the subject matter, and provide context for the viewer to understand where your interest stems from. |
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| | Begin amassing your archive – try to find/generate at least 25 images for your collection |
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| Due: Sept 27 | Due: Sept 27 |
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| == Step 3 == | == Step 3 == |
| **Archive Collection - 1 week**\\ | **Archive Collection - 2 weeks**\\ |
| Collect your archive – gather items that will act as the material for your project. These can be physical, digital, or in-between(?), but should contain a minimum of: | Collect your archive – gather items that will act as the material for your project. These can be physical, digital, or in-between(?), but should contain a minimum of: |
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| Bring them to class in a way we can view them as a class (if they’re objects, bring in the objects if you can. If they’re digital images, have them viewable on your computer, etc.). In this stage don’t over-index on an imagined outcome, instead research the topic via design tactics. | Bring them to class in a way we can view them as a class (if they’re objects, bring in the objects if you can. If they’re digital images, have them viewable on your computer, etc.). In this stage don’t over-index on an imagined outcome, instead research the topic via design tactics. |
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| Due: Oct 4 | Due: Oct 11 |
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| ---- | ---- |
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| == Step 4 == | == Step 4 == |
| **Archive Presentation - 2 weeks**\\ | **Archive Presentation - 1 weeks**\\ |
| Organize your archive – consider the contents of your archive, and organize them into a format that gives us new insights into your collection. This collection can take any shape you choose, but some to consider may be a timeline, interactive website, deck of cards, poster, etc. | Organize your archive – consider the contents of your archive, and sort them into a format that gives us new insights into your collection. This collection can take any shape you choose, but some to consider may be a timeline, interactive website, deck of cards, poster, etc. |
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| Make your archive accessible to the class for review. | Make your archive accessible to the class for review. |
| == Reading == | == Reading == |
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| | * [[https://metaphorbymetaphor.files.wordpress.com/2013/06/ewriting_ballard_index.pdf|The Index]], by JG Ballard |
| | * To Archive the Imagined, by Mindy Seu |
| * [[https://www.ribbonfarm.com/2019/03/05/worlding-raga-2-what-is-a-world/|Worlding Raga: 2 – What is a World?]], by Ian Cheng | * [[https://www.ribbonfarm.com/2019/03/05/worlding-raga-2-what-is-a-world/|Worlding Raga: 2 – What is a World?]], by Ian Cheng |
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| == References == | == References == |
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| | * [[https://astriasuparak.com/2020/02/13/asian-futures-without-asians/|“ASIAN FUTURES” series]], by Astria Suparak |
| * [[https://paglen.studio/2020/04/22/symbology-patches/|Symbology]], by Trevor Paglen | * [[https://paglen.studio/2020/04/22/symbology-patches/|Symbology]], by Trevor Paglen |
| * [[https://www.moma.org/interactives/exhibitions/2013/designandviolence/five-classified-aircraft-trevor-paglen/|Five Classified Aircraft (Trevor Paglen) | * [[https://www.moma.org/interactives/exhibitions/2013/designandviolence/five-classified-aircraft-trevor-paglen/|Five Classified Aircraft (Trevor Paglen) |
| ]], by William Gibson | ]], by William Gibson |
| * Black Gooey Universe, American Artist | * [[https://forensic-architecture.org/|Forensic Architecture]] |
| | * [[http://grahamfoundation.org/grantees/5135-contribution-and-collaboration-the-work-of-petra-andrejova-molnar-and-her-contemporaries|The Work of Petra Andrejova-Molnár and her Contemporaries]], by Katarina Burin |
| | * [[https://americanartist.us/works/black-gooey-universe|Black Gooey Universe]], American Artist |
| * [[https://www.design-research.be/by-womxn/|⚧ LIBRE FONTS BY WOMXN - design research]] | * [[https://www.design-research.be/by-womxn/|⚧ LIBRE FONTS BY WOMXN - design research]] |
| | * [[https://arambartholl.com/isolated-on-white-series/|Isolated on White]], by Aram Bartholl |
| | * [[https://en.wikipedia.org/wiki/Elvish_languages_of_Middle-earth#:~:text=The%20Elvish%20languages%20of%20Middle,a%20society%20throughout%20the%20Ages.|Elvish]], Wikipedia |
| | * [[https://exposing.ai/|exposing.ai]], by Adam Harvey and Jules LaPlace |
| * [[http://lawrenceabuhamdan.com/conflicted-phonemes|Conflicted Phonemes]], by Lawrence Abu Hamdan | * [[http://lawrenceabuhamdan.com/conflicted-phonemes|Conflicted Phonemes]], by Lawrence Abu Hamdan |
| * [[http://lawrenceabuhamdan.com/airpressure|airpressure.info]], by Lawrence Abu Hamdan | * [[http://lawrenceabuhamdan.com/airpressure|airpressure.info]], by Lawrence Abu Hamdan |
| | * [[https://mimionuoha.com/the-library-of-missing-datasets|The Library of Missing Datasets]], by Mimi Onuoha |
| | * [[https://lawrencelek.com/Sinofuturism-1839-2046-AD|Sinofuturism (1839-2046 AD) 中华未来主义]], by Lawrence Lek |
| | * [[https://www.youtube.com/watch?v=7VI57Zwf8QA|Cyberfeminism Index]], with Mindy Seu |
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