tag:blogger.com,1999:blog-18892038981954152002012-01-26T18:19:56.908-08:00Diegonoreply@blogger.comBlogger2681100tag:blogger.com,1999:blog-1889203898195415200.post-7166501727162573462010-09-06T08:36:00.000-07:002010-09-06T08:37:56.492-07:00I've finally got my Wordpress-powered website, <a href="http://diegomaranan.com/">diegomaranan.com,</a> up and running more smoothly now, and I'll be starting a new blog there that.&nbsp;This will be my last entry on this blog. It's been a good four years of sharing with the (probably not very big) public about my personal life and miscellaneous stuff. It wasn't the best-organized blog in the world. But it did what I needed it to do. :)<br /> <div><br /> </div><div>So, here we go. Goodbye, Blogger; welcome, change!</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-716650172716257346?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-8215810845468106322010-08-28T15:17:00.000-07:002010-08-28T15:17:48.341-07:00I'm reading Thomas Hanna's article, <a href="http://webcache.googleusercontent.com/search?q=cache:pcTqGoQYdMcJ:somatics.org/library/htl-wis1.html">"What is Somatics"</a>, from the book, <a href="http://books.google.ca/books?id=B2jRpE3IU9AC&amp;printsec=frontcover&amp;dq=bone+breath+%26+Gesture&amp;source=bl&amp;ots=qQBzpHJJp5&amp;sig=90gGPGyo2iMct-pgi9x3Xs6ixkE&amp;hl=en&amp;ei=v4p5TPa2BpTCsAPm6tnsCg&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=4&amp;ved=0CCoQ6AEwAw#v=onepage&amp;q&amp;f=false">Bone, Breath, &amp; Gesture</a>: Practices of Embodiment, and I came across these two passages that I really like:<br /> <blockquote>The life sciences in general and the sciences of physiology, psychology, and medicine in particular lack valid grounds for what they assert to be established fact and sound theorizing exactly to the degree that they ignore, willfully or innocently, first-person data. To avoid evidence that is "phenomenological" or "subjective" is unscientific. To dismiss such data as irrelevant and/or unimportant is irresponsible....</blockquote><blockquote>When you, as a scientist, are looking at a subject who, unlike a rock, is looking back at you, it is not easy to pretend that the subject is merely a complicated rock. If one insists on doing so, it is certain that no valid scientific conclusions will be reached, nor will they have genuine applicability to anything at all -- unless, perhaps, to a complicated rock... Thus, the first step in understanding somatics is to recognize-and never cease to remind oneself -- that somas are not bodies and that the objective scientific verities concerning the latter are not ipso facto applicable to the former. To do so would be what logicians refer to as a "category mistake."</blockquote><br /> Awesome.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-821581084546810632?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-12242394347312187582010-08-01T10:39:00.000-07:002010-08-01T11:08:35.096-07:00I landed in Chicago at 5:30 in the morning. I took the metro from O'Hare to downtown, where the marathon was going on. Of course, I watched the sexy shirtless men for a bit. Then I quickly got bored and began to watch people's gaits, looking at which bodies seemed most integrated, where people held unnecessary tension, where they didn't. I'm still trying to figure all of this out.<br /> <br /> I took the 8:15 train to Champaign and arrived two hours later. I'll be in a series of meetings over the next week with my senior supervisor at the School of Interactive Arts and Technology and a team of very cool people working with (I believe) both the <a href="http://www.ncsa.illinois.edu/">National Center for Supercomputing Applications</a> and the <a href="http://dance.uiuc.edu/">Dance Department</a>. We're looking at, among other things, <a href="http://diegomaranan.blogspot.com/2010/08/settling-in-at-university-of-illinois.html">computational models for expressivity in human movement</a>, although I don't know the full scope of the agenda for this week's meetings.<br /> <br /> The dance department has an apartment reserved for visiting artists, which is where I'm staying. It's unbelievable. It has:<br /> <ul><li>a full kitchen with a microwave, coffee maker, oven, kettle, fridge, cooking utensils, dishwasher, and (best of all) wine glasses</li> <li>a washer and dryer</li> <li>a desk with some office supplies (including a pair of scissors, which I badly needed!) and some wonderful books, including <i>Labyrinth</i>, one called <i>Crossing the Postmodern Divide,</i> and (most astonishingly) the second novel in a trilogy I read last month and the only one that I haven't read yet, <a href="http://en.wikipedia.org/wiki/Lost_in_a_Good_Book">Jasper Fforde's <i>Lost in a Good Book</i></a><i>&nbsp;</i></li> </ul>This is where I'm staying:<br /> <i> </i><br /> <iframe frameborder="0" height="350" marginheight="0" marginwidth="0" scrolling="no" src="http://maps.google.com/maps/ms?ie=UTF8&amp;hl=en&amp;msa=0&amp;msid=117805865511056476734.00048b7a8d1b0408b22d4&amp;ll=40.106486,-88.221492&amp;spn=0.003668,0.009645&amp;output=embed" width="425"></iframe><br /> <small><br /> </small><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1224239434731218758?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-86912035158238461712010-07-15T16:13:00.000-07:002010-07-15T16:13:08.201-07:00I'm writing this down only so that I have some record of this and so that I might actually get around to doing this one day soon: I want to start a series of posts where I lay down for my students what I think are oppositions and contradictions in inherent academic learning.<br /> <ul><li>What I ask you to learn versus what you really should be learning</li> <li>Grade versus evaluation</li> <li>Breaking rules versus breaking rules</li> </ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-8691203515823846171?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-67576496175879137922010-06-16T09:56:00.000-07:002010-06-16T09:56:19.787-07:00<i>(via Teret de Villa, via Ernie Gange)</i><br /> <br /> <blockquote>Dear Noynoy,<br /> You are now swamped with suggestions and advice, but just the same, I hope you’ll have time to read what this octogenarian has to say.<br /> <br /> You were not my choice in the last election but since our people have spoken, we must now support you and pray that you prevail. But first, I must remind you of the stern reality that your drumbeaters ignore: you have no noble legacy from your forbears. It is now your arduous job to create one yourself in the six years that you will be the single most powerful Filipino. Six years is too short a time — the experience in our part of the world is that it takes at least one generation — 25 years — for a sick nation to recover and prosper. But you can begin that happy process of healing.<br /> <br /> Bear in mind that the past weighs heavily on all of us because of the many contradictions in it that we have not resolved, whose resolutions would strengthen us as a nation. This past is now your burden, too. Let us start with the fact that your grandfather collaborated with the Japanese. Your father was deeply aware of this, its stigma, its possibilities. He did not leave any legacy because he did not become president. He was a brilliant and courageous politician. He was an enterprising journalist; he had friends in journalism who can attest to his effulgent vision, who did not profit from his friendship, among them Nestor Mata, Gregorio Brillantes — you may consult them. I cannot say I did not profit — he bought many books from my shop and when he was in Marcos’s prison, your mother brought books from my shop to him.<br /> <br /> Forgive me for giving you this unsolicited advice. First, beware of hubris; you are surrounded by panderers who will tell you what is nice to hear. You need to be humble always and heed your conscience. When Caesar was paraded in ancient Rome before the cheering multitudes, there was always a man chanting behind him: “Remember, you are mortal.”<br /> <br /> I say to you, remember, the poor — some of them in your own hacienda — will be your ultimate judge.<br /> <br /> From your comfortable and privileged cocoon, you know so little of our country and people. Seek the help of the best — and the best do not normally want to work in government and neither will they approach you. You have to seek them.<br /> <br /> Be the revolutionary your father wanted to be and don’t be scared or wary of the word “revolution.” It need not be always bloody. EDSA I was not. Your father wanted to destroy the most formidable obstacle to our progress — the Oligarchy to which you and your family belong. To succeed, you have to betray your class. If you cannot smash the oligarchy, at least strive to have their wealth develop this country, that they bring back the billions they stashed abroad. You cannot do this in six years, but you can begin.<br /> <br /> Prosecute the crooks. It is difficult, thankless and even dangerous to do this. Your mother did not do it — she did not jail Imelda who was the partner in that conjugal dictatorship that plundered this nation. Watch her children — they were much too young to have participated in that looting but they are heirs to the billions which their parents stashed abroad. Now the Marcoses are on the high road to power, gloating, snickering at our credulity and despicable amnesia.<br /> <br /> You know the biggest crooks in and out of government, those powerful smugglers, thieves, tax cheats — all you really need is guts to clobber them. Your father had lots of it — I hope he passed on to you most of it.<br /> <br /> And most of all, now that you have the muscle to do it, go after your father’s killers. Blood and duty compel you to do so. Cory was only his wife — you are the anointed and only son. Your regime will be measured by how you resolve this most blatant crime that robbed us of a true leader.<br /> <br /> And, finally, your mother. We loved her — she united us in ousting an abominable dictator. But she, too, did not leave a shining legacy for her presidency was a disaster. She announced a revolutionary government but did nothing revolutionary. She promised land reform but did not do it. And most grievous of all — she transformed the EDSA I revolution into a restoration of the oligarchy.<br /> <br /> She became president only because her husband was murdered and you became president elect only because your mother died. Still, you are your father’s son and may you now — for the good of this country and people — scale the heights he and your mother never reached.<br /> <br /> I am 85 and how I despair over how three generations of our leaders failed! Before I go, please let me see this unhappy country begin to be a much better place than the garbage dump our leaders and people have made it. You can be this long awaited messiah but only if you are brave enough and wise enough to redeem your father’s aborted promise.<br /> <br /> Hopefully yours,<br /> <br /> F. Sionil Jose </blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6757649617587913792?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com1tag:blogger.com,1999:blog-1889203898195415200.post-26953153748205191462010-06-10T16:17:00.000-07:002010-06-10T16:48:20.821-07:00One of the visiting PhD students here at SIAT, Vladimir Tomberg, is from Tallinn University in Estonia and works in the field of technology-enhanced learning, which I was excited to learn about since I had just finished developing a course on designing and evaluating multimedia learning materials. It was a good experience, but it was difficult to do because it necessarily had to be broad, whereas I was really interested in focusing in-depth in some of the stuff that I came across.<br /> <br /> <div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_D0SLDcRRiX0/TBF5tPlksoI/AAAAAAAAFrU/7ODulc4T234/s1600/moodle_googlewavewidgets.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="93" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/TBF5tPlksoI/AAAAAAAAFrU/7ODulc4T234/s200/moodle_googlewavewidgets.JPG" width="200" /></a></div>Anyway, I was telling Vladimir that UPOU uses Moodle and Google Apps. He pointed out that there is work in getting widgets to operate on a variety of platforms (I didn't even realize that there is a W3C widget standard). One of the tools he mentioned was Scott Wilson's <span class="style_1" style="line-height: 20px;"><a href="http://getwookie.org/Welcome.html">Apache Wookie</a>, which is an engine for <a href="http://www.blogger.com/goog_1582473857">getting </a></span><a href="http://zope.cetis.ac.uk/members/scott/blogview?entry=20090612190435">W3C Widgets and Google Wave Gadgets to be embedded in Moodle</a>. It looks pretty cool. <a href="http://screencast.com/t/Y2NmMmY4">Here's a video of me playing around in a Moodle course with widgets.</a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2695315374820519146?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-54165635398726411172010-04-24T17:07:00.000-07:002010-04-27T11:33:13.924-07:00Questions for Mary (to be done over Skype, with both of us looking at the same piece of code at a time):<br /> <ul><li>Could I see a demo, even if it's just using one moving body, or even just one moving body part? I need to see how systems are started up, etc.&nbsp; I would like to see how it should like during the May 21 demo.</li> <li>Opinion: could I just port this all over to Java? </li> <li><span style="background-color: #666666;">How many sensors did you have for generating training data, validation data, and in performance? </span>(Found the answer to two questions: one sensor during training, two during performance)</li> <li>Where are the models that you used? Are they in the ml_training folder? How should I use the models? Are they more appropriate for certain movement than others? We have a demo set up for May 21, and I'm wondering which is the best model to use.</li> <li>Could you say something more about the edge detection in movement? </li> <li>[Confirm my understanding of how the system works overall with her]</li> <li>Are there any missing libraries? (Need to double check myself before asking her that question!)</li> </ul>Questions for Thecla<br /> <ul><li>How many LMA experts can we use to validate the data that we have</li> </ul><ul></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5416563539872641117?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-70468720909398761892010-04-22T12:00:00.000-07:002010-04-27T11:33:13.215-07:00Some feedback from the class + Philippe<br /> <ul><li>The system can be used to validate LMAnalysts' abilities (I can't remember exactly how)... or rather, we can use a built-in validation system where </li> <li>The system can be used in conjunction with other (e.g., computer vision) based methods to extract more motion features, but also to validate each other</li> <li>Use as many LMAnalysts as possible to construct training data</li> <li>Use cross-folds validation!</li> <li>Actually measure the lag; also, measure the lag from real data</li> </ul><div>~~~~~~~~~~~~~~~~~<br /> <ul><li>&nbsp;<b>Wearable Hardware System</b></li> <ul><li>I need to make the Funnel IO board work</li> </ul> <li><b>Hardware-Software Interface</b></li> <ul><li>I need to look for the training model they used; is it in SVN?</li> </ul> <li><b>Acceleration Data Cleaner</b></li> <ul><li>-----</li> </ul> <li><b> Motion Segmentation System</b></li> <ul><li>Need to learn Max (and get a machine with access to Max?) perhaps to really understand Mary' windowing system</li> </ul> <li><b>Motion Feature Extractor</b></li> <ul><li><br /> </li> </ul> <li><b>Laban Effort Classifier</b></li> </ul>Also I need to follow up on my permanent resident card.</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7046872090939876189?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-24712741448620423052010-04-21T21:42:00.001-07:002010-04-27T11:33:12.281-07:00I woke up this morning (well, at 11 pm, since I was working till late last night on the paper) completely exhausted and unfocused. But I will be changing that soon! Resolve! Courage! Bravura!<br /> ~~~~~~~~~~~<br /> <ul><li>Good news. I think I've found where in Mary's code the actual classification processing happens. It's ProcessAccelWindow.java.</li> <li>Also, I found a very important bit! An Weka data instance is generated by a call to AccelConverter.GenerateInstance():</li> </ul><br /> <span style="font-family: &quot;Courier New&quot;,Courier,monospace;">one_instance = accelconv.GenerateInstance(xdistance, ydistance, zdistance, xratedist, yratedist, xtraj, ytraj, ztraj, xratetraj, yratetraj, avex_distance, avey_distance, avez_distance, avexrate_distance, aveyrate_distance avex_traj, avey_traj, avez_traj, avexrate_traj, aveyrate_traj, dcx_ratio, dcy_ratio, dcz_ratio, dcxrate_ratio, dcyrate_ratio, dcx_ratio_msec, dcy_ratio_msec, dcz_ratio_msec, dcxrate_ratio_msec, dcyrate_ratio_msec, dist_to_ave_distx, dist_to_ave_disty, dist_to_ave_distz, dist_to_ave_distxrate, dist_to_ave_distyrate, traj_to_ave_trajx, traj_to_ave_trajy, traj_to_ave_trajz, traj_to_ave_trajxrate, traj_to_ave_trajyrate, xstill_ratio, ystill_ratio, zstill_ratio, xratestill_ratio, yratestill_ratio);</span> <br /> <br /> <br /> <pre class="code:java">~~~~~~~~~~~~~~~~~~</pre><pre class="code:java">I have a demo of sorts. :)</pre><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2471274144862042305?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-44314651481232015392010-04-20T11:51:00.000-07:002010-04-27T11:33:10.333-07:00So now I'm looking at the very beginning: trying to save the accelerometer data into a buffer. After that I will find a way to write data in the three buffer windows.<br /> <br /> ~~~~~~~<br /> Just came out of my meeting with Thecla. Some interesting stuff. In previous conversations, she started talking about the philosophical grounds for detecting/describing/classifying movement through acceleration data. In this meeting, she mentioned that the ends of a movement/gesture are crystallizations of an ever-fluid stream of phenomena. I'm also wondering whether the act of observation/classification also crystallizes movement. <br /> <br /> Just to be more concrete in terms of my IAT 888 paper/project, I can note in my paper that all Laban Effort detection systems have made use of affinities, and I will be no different.<br /> <br /> In my paper, I'm not sure if I can unpack the following idea any more but: using acceleration as the foundation for qualifying movement is... I can't exactly articulate it right now but it allows you to look at movement as a data stream of meaning that is somewhat independent from properties the physical substrate upon which the movement is embedded. This is also closer to what Lyn Bartram might be aiming for as well.<br /> <br /> I should really talk to Mary and ask her: why acceleration data instead of computer vision-based methods?<br /> <br /> I really need to read Philip Agre and his paper on computation and the human experience. Also, for my thesis work particularly, read Thecla's chapter 8.<br /> <br /> Last week in my metacreation class, I finished my presentation of some themes from Alan Dorin's work, and I mentioned the idea of creating a machine that creates kinetic art. I wonder if anyone will take me up on it... or if I can find to think about this more!<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4431465148123201539?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-46708974772252142932010-04-19T18:18:00.000-07:002010-04-27T11:33:07.864-07:00I had to take a break from the motion research project because I had to do some work on developing <a href="http://sites.google.com/a/upou.edu.ph/edde-221/">EDDE 221</a>. I just finished module 4, which is pretty big for a module. It's one of the biggest modules I've ever developed at UPOU. Anyway, there's still a ton of work to do there.<br /> <br /> So. Back to Weka.<br /> <br /> I think what I need to start doing is divide this Progress Report into the subsystem reports. Here are the subsystems so far. ADU stands for Acceleration Data Unit. <br /> <br /> <div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_D0SLDcRRiX0/S8z_CSNqRVI/AAAAAAAAFkw/klRuMZQ6mkw/s1600/SystemArchitecture.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="http://2.bp.blogspot.com/_D0SLDcRRiX0/S8z_CSNqRVI/AAAAAAAAFkw/klRuMZQ6mkw/s400/SystemArchitecture.jpeg" width="400" /></a></div><ul><li>&nbsp;<b>Wearable Hardware System</b></li> <ul><li>I ordered an XBee USB Explorer and a FTDI basic breakout. Tomorrow I will see whether that helps me with my hardware woes</li> </ul> <li><b>Hardware-Software Interface</b></li> <ul><li>I haven't taken a look at what Mary did, and I'm not sure if I will at this point, at least not for IAT 888. She used MaxMSP to do all the serial reading. I know I can use the <b> </b>Processing code that I already have.</li> </ul> <li><b>Acceleration Data Cleaner</b></li> <ul><li>Haven't even touched this yet. I'm Greg mentioned a kind of filter that he says is always used in motion cleaning. Damn I can't remember it.</li> </ul> <li><b> Motion Segmentation System</b></li> <ul><li>Also haven't started working on this, but I'm looking at what Mary did and I'm supposing I should first try the general approached she did (sliding windows&nbsp;<b> </b>of various sizes and different weights) to be used for the LEC</li> </ul> <li><b>Motion Feature Extractor</b></li> <ul><li>Well, I have candidates for these features! Now I just need to actually derive them based on acceleration data.&nbsp; :{</li> </ul> <li><b>Laban Effort Classifier</b></li> <ul><li>I have a working classifier! Right now I'm using a toy domain to test the classifier ("SHould I play or stay in based on various weather conditions?").&nbsp; I have a working GUI demonstration. </li> </ul></ul>I put a lot of work learning about Weka, and I'm hoping that this will pay of in the long run in that I am not married to using a neural network to do the classification, and Weka will provide me a more opportunities to try other machine learning methods<br /> Now I know that I will get the best performance out of my super rudimentary system if I build the MFE first and use the motion features for the classification. But I need to have something to demonstrate on Thursday, so I will see what will happen if I feed direct accelerometer values into the neural network. At least what I can then demonstrate is that I can recognize ... perhaps shapes drawn in the air?&nbsp; That's a good start, and it will help with Space classification, at least.<br /> <br /> So it looks like the next step is for me to work on the motion segmentation system. Conveniently enough, Mary's approach builds precisely on what Philippe told me to do, which is to use sliding windows.<br /> <br /> <br /> <ul><ul></ul></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4670897477225214293?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-4233782778165010452010-04-18T08:50:00.000-07:002010-04-27T11:33:05.189-07:00<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_D0SLDcRRiX0/S9cOfSgEz0I/AAAAAAAAFlo/J9g7OQQ97Mg/s1600/output.GIF" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_D0SLDcRRiX0/S9cOfSgEz0I/AAAAAAAAFlo/J9g7OQQ97Mg/s320/output.GIF" /></a></div><br /> &nbsp;I'm able to read acceleration data from the sensors but only from an Arduino board, not the Funnel IO board. Here's some sample data:<br /> <br /> <blockquote>277,287,271,0,270,332<br /> 276,287,271,0,270,332<br /> 276,287,271,0,270,332<br /> 276,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,271,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,270,332<br /> 277,284,271,0,271,337<br /> 278,284,271,0,273,387<br /> 280,286,271,0,271,377<br /> 285,286,271,0,272,347<br /> 292,287,271,0,270,325<br /> 296,287,271,0,270,318<br /> 294,287,271,0,269,315<br /> 287,286,271,0,268,319<br /> 287,288,271,0,270,323<br /> 288,288,271,0,268,321<br /> 285,287,271,0,267,324<br /> 283,288,271,0,268,328<br /> 282,287,271,0,268,326<br /> 280,287,271,0,268,325<br /> 280,288,271,0,267,327<br /> 279,287,271,0,269,327<br /> 277,287,271,0,267,326<br /> 278,287,271,0,268,325<br /> 277,287,271,0,267,323<br /> 276,287,271,0,269,325<br /> 276,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 277,287,271,0,269,332<br /> 277,287,271,0,269,332<br /> 276,287,271,0,269,332<br /> 277,287,271,0,270,332<br /> 276,287,271,0,270,332<br /> 277,287,271,0,269,325<br /> 277,287,271,0,269,311<br /> 276,288,271,0,268,314<br /> 275,288,271,0,270,318<br /> 274,288,271,0,270,326<br /> 274,286,271,0,271,334<br /> 277,288,271,0,269,335<br /> 277,287,271,0,270,341<br /> 277,288,271,0,269,348<br /> 278,287,271,0,270,355<br /> 279,287,271,0,269,345<br /> 279,287,271,0,269,337<br /> 278,287,271,0,271,352<br /> 277,287,271,0,271,368<br /> 277,286,271,0,272,370<br /> 275,286,271,0,271,353<br /> 279,286,271,0,271,334<br /> 283,287,271,0,270,318<br /> 284,288,271,0,268,308<br /> 282,287,271,0,268,304<br /> 274,287,271,0,267,305<br /> 271,286,271,0,267,307<br /> 274,287,271,0,267,317<br /> 275,287,271,0,268,313<br /> 275,286,271,0,270,302<br /> 276,288,271,0,269,306<br /> 277,287,271,0,270,314<br /> 276,288,271,0,268,323<br /> 276,287,271,0,270,344<br /> 278,287,271,0,270,347<br /> 279,286,271,0,270,352<br /> 281,287,271,0,270,355<br /> 282,287,271,0,269,356<br /> 282,286,271,0,270,353<br /> 282,287,271,0,270,336<br /> 280,288,271,0,270,344<br /> 277,288,271,0,271,357<br /> 277,287,271,0,270,359<br /> 277,287,271,0,271,348<br /> 275,287,271,0,269,331<br /> 274,287,271,0,269,317<br /> 273,287,271,0,269,308<br /> 273,287,271,0,268,306<br /> 273,287,271,0,269,313<br /> 274,287,271,0,270,324<br /> 273,287,271,0,269,319<br /> 272,287,271,0,268,310<br /> 275,286,271,0,270,314<br /> 277,287,271,0,268,321<br /> 277,287,271,0,270,333<br /> 278,288,271,0,270,344<br /> 279,287,271,0,270,353<br /> 278,287,271,0,270,353<br /> 279,287,271,0,270,347<br /> 278,287,271,0,269,336<br /> 279,288,271,0,269,348<br /> 279,288,271,0,271,362<br /> 278,287,271,0,271,365<br /> 277,287,271,0,271,353<br /> 276,287,271,0,270,334<br /> 279,286,271,0,270,320<br /> 281,287,271,0,271,315<br /> 279,287,271,0,269,310<br /> 275,286,271,0,268,300<br /> 270,287,271,0,267,306<br /> 273,287,271,0,268,313<br /> 274,287,271,0,269,314<br /> 275,287,271,0,268,316<br /> 277,287,271,0,269,323<br /> 277,287,271,0,270,329<br /> 278,286,271,0,270,338<br /> 278,287,271,0,270,347<br /> 278,287,271,0,271,349<br /> 279,287,271,0,270,351<br /> 279,287,271,0,270,342<br /> 278,287,271,0,269,334<br /> 277,287,271,0,269,340<br /> 277,287,271,0,271,349<br /> 278,287,271,0,271,353<br /> 277,288,271,0,270,348<br /> 279,287,270,0,271,346<br /> 282,287,271,0,271,341<br /> 282,287,271,0,269,331<br /> 279,288,271,0,267,313<br /> 274,287,271,0,267,299<br /> 273,287,271,0,267,297<br /> 273,287,271,0,269,320<br /> 274,287,271,0,269,322<br /> 274,287,271,0,269,310<br /> 275,286,271,0,269,312<br /> 276,287,271,0,268,317<br /> 277,287,271,0,271,328<br /> 277,288,271,0,270,341<br /> 279,287,271,0,271,345<br /> 281,287,271,0,270,353<br /> 280,287,271,0,270,356<br /> 279,287,271,0,270,344<br /> 278,286,271,0,269,335<br /> 278,287,271,0,268,342<br /> 277,287,271,0,273,363<br /> 277,287,271,0,271,368<br /> 276,287,271,0,269,353<br /> 281,287,271,0,272,343<br /> 282,287,271,0,270,336<br /> 280,287,271,0,267,323<br /> 276,287,270,0,267,308<br /> 271,287,271,0,266,297<br /> 271,287,271,0,269,295<br /> 272,287,271,0,268,308<br /> 273,287,271,0,269,326<br /> 274,287,271,0,270,320<br /> 274,287,271,0,269,312<br /> 275,287,271,0,268,317<br /> 276,287,271,0,270,328<br /> 277,287,271,0,270,338<br /> 278,287,271,0,270,343<br /> 279,287,271,0,271,347<br /> 279,287,271,0,269,353<br /> 278,287,271,0,270,343<br /> 277,287,271,0,269,334<br /> 277,287,271,0,270,336<br /> 276,287,271,0,269,335<br /> 276,288,271,0,266,341<br /> 276,288,271,0,275,362<br /> 276,287,271,0,270,356<br /> 275,287,271,0,269,341<br /> 275,287,271,0,269,332<br /> 273,286,271,0,269,325<br /> 273,287,271,0,267,318<br /> 272,287,271,0,268,311<br /> 272,287,271,0,269,306<br /> 273,287,271,0,269,310<br /> 274,287,271,0,269,326<br /> 274,287,271,0,269,327<br /> 274,287,271,0,269,308<br /> 275,287,271,0,268,305<br /> 277,287,271,0,270,310<br /> 278,287,271,0,270,320<br /> 278,287,271,0,269,330<br /> 279,286,271,0,269,336<br /> 280,287,271,0,271,336<br /> 281,287,271,0,268,343<br /> 281,287,271,0,270,349<br /> 281,288,271,0,268,356<br /> 281,287,271,0,269,358<br /> 280,287,271,0,269,344<br /> 279,287,271,0,270,338<br /> 279,287,271,0,270,346<br /> 277,288,271,0,269,366<br /> 276,287,271,0,270,365<br /> 274,287,271,0,269,354<br /> 272,287,271,0,268,342<br /> 271,287,271,0,269,330<br /> 271,287,271,0,270,320<br /> 271,287,271,0,267,316<br /> 271,288,271,0,269,311<br /> 271,287,271,0,267,304<br /> 271,287,271,0,268,301<br /> 273,287,271,0,269,312<br /> 273,287,271,0,269,327<br /> 274,287,271,0,269,319<br /> 276,287,271,0,270,304<br /> 278,287,271,0,270,303<br /> 279,287,271,0,270,308<br /> 281,287,271,0,269,322<br /> 281,287,271,0,268,337<br /> 282,287,271,0,270,345<br /> 283,287,271,0,269,350<br /> 282,287,271,0,270,354<br /> 282,287,271,0,267,361<br /> 279,287,271,0,269,359<br /> 278,287,271,0,269,337<br /> 277,287,271,0,269,335<br /> 276,287,271,0,269,342<br /> 276,287,271,0,271,371<br /> 274,287,271,0,271,360<br /> 273,287,271,0,268,340<br /> 272,287,271,0,270,332<br /> 271,287,271,0,269,322<br /> 271,287,271,0,267,311<br /> 270,287,271,0,269,302<br /> 272,287,271,0,269,299<br /> 275,287,271,0,269,321<br /> 274,287,271,0,269,328<br /> 274,287,271,0,270,315<br /> 275,287,271,0,269,307<br /> 277,287,271,0,269,313<br /> 278,287,271,0,269,325<br /> 279,287,271,0,270,333<br /> 280,287,271,0,269,343<br /> 281,287,271,0,269,348<br /> 280,287,271,0,269,357<br /> 279,287,271,0,270,358<br /> 278,287,271,0,269,340<br /> 278,288,271,0,267,335<br /> 277,289,271,0,267,338<br /> 276,289,271,0,275,370<br /> 274,286,271,0,271,368<br /> 273,287,271,0,270,349<br /> 272,286,271,0,269,333<br /> 271,286,271,0,268,323<br /> 271,286,271,0,268,315<br /> 271,287,271,0,268,303<br /> 272,287,271,0,268,296<br /> 275,287,271,0,268,304<br /> 274,287,271,0,268,329<br /> 274,287,271,0,269,326<br /> 275,286,271,0,272,316<br /> 277,287,271,0,267,312<br /> 278,287,271,0,270,322<br /> 279,287,271,0,269,333<br /> 280,287,271,0,270,334<br /> 281,287,271,0,269,341<br /> 281,287,271,0,270,349<br /> 280,287,271,0,270,355<br /> 278,287,271,0,269,340<br /> 278,287,271,0,269,334<br /> 277,288,271,0,268,336<br /> 278,289,271,0,272,356<br /> 277,287,271,0,271,364<br /> 277,287,271,0,271,351<br /> 276,286,271,0,271,334<br /> 275,286,271,0,268,324<br /> 274,287,271,0,269,322<br /> 273,287,271,0,269,314<br /> 273,287,271,0,268,304<br /> 274,287,271,0,269,303<br /> 275,287,271,0,268,327<br /> 275,287,271,0,268,328<br /> 275,287,271,0,271,311<br /> 276,287,271,0,267,307<br /> 277,287,271,0,270,318<br /> 279,287,271,0,270,328<br /> 279,287,271,0,270,336<br /> 280,287,271,0,268,343<br /> 280,287,271,0,271,341<br /> 280,287,271,0,269,348<br /> 280,286,271,0,269,353<br /> 278,287,271,0,269,345<br /> 278,287,271,0,269,336<br /> 277,288,271,0,267,337<br /> 277,289,271,0,272,361<br /> 276,287,270,0,271,372<br /> 275,287,271,0,270,356<br /> 274,286,271,0,270,336<br /> 272,286,271,0,269,325<br /> 272,286,271,0,269,314<br /> 272,286,271,0,269,305<br /> 272,287,271,0,266,294<br /> 274,287,271,0,269,304<br /> 274,287,271,0,268,327<br /> 273,287,271,0,270,307<br /> 274,286,271,0,267,297<br /> 276,287,271,0,270,304<br /> 278,287,271,0,270,316<br /> 279,287,271,0,269,330<br /> 280,287,271,0,270,340<br /> 281,287,271,0,270,344<br /> 283,287,271,0,270,349<br /> 283,287,271,0,268,357<br /> 282,287,271,0,269,363<br /> 279,287,271,0,269,356<br /> 278,287,271,0,269,335<br /> 277,288,271,0,267,336<br /> 276,289,271,0,269,353<br /> 276,288,271,0,280,387<br /> 281,283,271,0,265,368<br /> 283,287,271,0,271,350<br /> 283,287,271,0,269,334<br /> 280,287,271,0,268,316<br /> 274,287,271,0,266,298<br /> 272,286,271,0,268,286<br /> 273,287,271,0,267,289<br /> 275,288,271,0,269,315<br /> 274,287,271,0,269,322<br /> 275,287,271,0,269,319<br /> 276,288,271,0,269,306<br /> 277,287,271,0,268,306<br /> 277,286,271,0,269,316<br /> 277,288,271,0,270,332<br /> 279,288,271,0,269,341<br /> 280,287,271,0,269,351<br /> 280,287,271,0,269,355<br /> 280,288,271,0,270,356<br /> 279,287,271,0,269,353<br /> 278,287,271,0,269,336<br /> 277,288,271,0,269,334<br /> 276,288,271,0,271,338<br /> 275,287,271,0,267,356<br /> 274,287,271,0,273,358<br /> 273,287,271,0,270,338<br /> 273,287,271,0,269,319<br /> 273,286,271,0,269,309<br /> 273,286,271,0,267,310<br /> 274,287,271,0,269,314<br /> 275,287,271,0,269,325<br /> 275,287,271,0,267,319<br /> 275,286,270,0,274,311<br /> 277,287,271,0,264,308<br /> 276,287,271,0,269,314<br /> 277,287,271,0,268,325<br /> 277,287,271,0,269,331<br /> 279,287,271,0,268,338<br /> 280,287,271,0,270,341<br /> 281,287,271,0,270,347<br /> 281,287,271,0,270,352<br /> 280,287,271,0,269,359<br /> 278,287,271,0,267,349<br /> 278,288,271,0,268,336<br /> 277,289,271,0,269,340<br /> 275,288,271,0,271,364<br /> 274,288,271,0,271,360<br /> 272,287,271,0,271,339<br /> 272,287,271,0,270,320<br /> 272,286,271,0,268,314<br /> 271,286,271,0,269,312<br /> 272,286,271,0,269,302<br /> 275,286,271,0,268,316<br /> 275,287,271,0,269,324<br /> 275,286,271,0,271,316<br /> 276,286,271,0,266,313<br /> 277,286,271,0,269,318<br /> 278,287,271,0,268,326<br /> 279,287,271,0,268,329<br /> 280,288,271,0,269,335<br /> 281,287,271,0,270,344<br /> 281,288,271,0,269,348<br /> 280,287,271,0,270,353<br /> 280,287,271,0,269,353<br /> 279,288,271,0,268,338<br /> 278,288,271,0,271,343<br /> 276,288,271,0,270,362<br /> 275,288,271,0,271,365<br /> 274,287,271,0,271,348<br /> 273,286,271,0,270,331<br /> 272,286,271,0,268,325<br /> 273,286,271,0,268,320<br /> 272,287,271,0,269,309<br /> 273,287,271,0,267,298<br /> 274,286,271,0,269,306<br /> 274,285,271,0,269,328<br /> 275,287,271,0,267,328<br /> 276,288,271,0,266,318<br /> 276,285,271,0,274,295<br /> 278,287,271,0,267,310<br /> 279,287,271,0,269,328<br /> 279,287,271,0,271,336<br /> 281,287,271,0,267,333<br /> 282,287,271,0,270,337<br /> 282,287,271,0,269,351<br /> 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276,288,271,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 275,288,270,0,270,329<br /> 276,288,271,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,269,329<br /> 276,288,270,0,269,329<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,329<br /> 276,288,271,0,270,329<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,329<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,270,329<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,329<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,270,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,271,0,269,330<br /> 276,288,270,0,270,330<br /> 276,288,270,0,270,330 </blockquote><br /> <blockquote><br /> </blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-423378277816501045?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-35913096031559364322010-04-17T10:00:00.000-07:002010-04-18T18:41:31.127-07:00It pays off to ask questions! I received a response from the Weka maillist from Mark Hall:<br /> <blockquote>Somewhere before this line:<br /> <br /> mevaluation.evaluateModel(classifier, testData);<br /> <div class="ii gt" id=":2c2">add:<br /> classifier.buildClassifier(<wbr></wbr>trainingData);<br /> <br /> Evaluation.evaluateModel() assumes that the classifier has already been<br /> trained on the training data.</div></blockquote>I'm ecstatic and grateful. I'll work on this later today!<br /> ~~~~<br /> It works!<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-3591309603155936432?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-9479062864855836722010-04-14T18:18:00.000-07:002010-04-17T10:23:36.902-07:00I finished presenting a review of three themes from the work of <a href="http://www.csse.monash.edu.au/%7Ealand/">Alan Dorin</a>, a researcher and artist at the <a href="http://www.csse.monash.edu.au/%7Ecema/">Centre for Electronic Media Art at Monash University</a>. I only had 10-15 minute to do this presentation, so I necessarily had to simplify a lot. I focused on telling a compelling story that was based on Dorin's work and shaped by my own interests. <br /> <br /> <br /> <iframe frameborder="0" height="342" src="http://docs.google.com/present/embed?id=dcf36bc7_137dpj6dtcj" width="410"></iframe><br /> <br /> <a name='more'></a><br /> This was the process I took to do this presentation (which I created in one all-nighter).<br /> Ok, my process:<br /> <ul><li>Scan through all the publications I have of him</li> <ul><li>First pass</li> <ul><li>Speed read one publication (5 minutes max)</li> <li>Make general notes (3 minutes max)</li> </ul> <li>Go back to his website and take note of his projects and other activities that are not in the form of a publication</li> <li>Make general outline of common and recurring themes in his work</li> </ul> <li>I should make a claim about why knowing about Alan Dorin is important</li> <ul><li>The way he talks about physical and biological processes; The way he used them</li> <li>The kinds of metaphors he uses</li> <li>Whose work as he inspired?</li> </ul> <li>Also: why focus on a single person?</li> <ul><li>Backbone of the metacreation community (can i show why?) </li> <li>I'm trying to understand his trajectory, and I want to predict the kinds of things he might be interested in</li> </ul> <li>I should also talk about how this presentation and ym analysis of Alan Dorin's ideas are important. What I amattempting is&nbsp;</li> <li>Also, present to the class his challenges to the generative art work, which I can derive from him conclusions in papers. </li> <li>My own injection of ideas</li> <ul><li>poiesis and emergence, sure: but what about destruction? probably won't have time to add this, though, but we'll see. my primary goal is to create a coherent story about the computational sublime, emergence, etc.</li> </ul> <li>I want to present a visualization of the themes that he's covered through his papers and their evolution, for example at which point does interaction come in?</li> <li>I could structure my presentation around presenting </li> <ul><li>key ideas of Dorin</li> <li>give an example that illustrates these ideas</li> <li>identify one of the class projects that embodies that idea</li> <li>identify a class project tat does NOT embody that idea but illustrate what would happen if we did</li> </ul> <li>I must remember to really go into at least one or two ideas in great depth </li> </ul><br /> <ul></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-947906286485583672?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-27222099634052553662010-04-14T12:20:00.000-07:002010-04-14T12:31:35.417-07:00Lately I've been listening to Susan Fernandez (Magno) on my iPod. Ever since she died last year, and ever since I moved out of Manila, her songs have become all the more poignant for me. Upeng Galang Fernandez set Ruth Elynia Mabanglo's poem, Kung Ibig mo Akong Makilala, to music, and I've been listening to it constantly the past few days along with Sangandaan. Too bad the audio's not the best in these YouTube videos. But it's good enough.<br /> <br /> <object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/Kw1H7HPYmAY&hl=en_US&fs=1&"> </param> <param name="allowFullScreen" value="true"> </param> <param name="allowscriptaccess" value="always"> </param> <embed src="http://www.youtube.com/v/Kw1H7HPYmAY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object> <object height="340" width="560"><param name="movie" value="http://www.youtube.com/v/AHagW5CeG3g&hl=en_US&fs=1&"> </param> <param name="allowFullScreen" value="true"> </param> <param name="allowscriptaccess" value="always"> </param> <embed src="http://www.youtube.com/v/AHagW5CeG3g&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2722209963405255366?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-908570548670556532010-04-13T23:44:00.000-07:002010-04-27T11:33:00.306-07:00I'm frustrated right now with Weka but mostly with my inability to understand what I'm doing wrong. I sent the following message to the Weka maillist:<br /> <blockquote><br /> Hi, I feel kind of embarrassed asking for help on what appears to be a super simple problem, but I've looked everywhere for answers and I'm a total newbie to both Weka and ML. I'm trying to use a MultilayerPerceptron to classify instances after I've trained it, but MultilayerPerceptron.evaluateModel() throws the exception, "No input instance format defined". I'm using the weather.arff file that is distributed with Weka as both the training and the test set (is that the problem?). Should I be filtering the data first?</blockquote><br /> Here's the code: <br /> <pre class="brush: java">package classifier; import weka.core.converters.*; import weka.core.Instances; import weka.core.Instance; import java.io.File; import java.io.IOException; import weka.classifiers.Evaluation; import java.util.Random; import weka.classifiers.functions.MultilayerPerceptron; import weka.core.FastVector; import weka.core.Attribute; import weka.gui.beans.DataSink; import weka.core.converters.ArffSaver; import weka.filters.AllFilter; import weka.filters.Filter; public class Main { public static void main(String[] args) { ArffLoader trainingloader = new ArffLoader(); ArffLoader testloader = new ArffLoader(); MultilayerPerceptron classifier = new MultilayerPerceptron(); Evaluation mevaluation; Instances trainingData; Instances testData; File trainingFile = new File("D:\\ProgramFiles2\\Weka-3-6\\data\\weather.arff"); File testFile = new File("D:\\ProgramFiles2\\Weka-3-6\\data\\weather.arff"); try { // Load the training data from the ARFF file // Load the test data from the ARFF file trainingloader.setFile(trainingFile); testloader.setFile(testFile); } catch (IOException e) { System.out.println("IOException e39ge: " + e.getMessage()); } try { // Write the contents of the training data to an Instances object trainingData = trainingloader.getDataSet(); testData = testloader.getDataSet(); System.out.println("\nContents of training data...:\n\n" + trainingData.toString()); System.out.println("\nContents of test data...:\n\n" + testData.toString()); try { // Indicate the class attribute in the training data trainingData.setClassIndex(trainingData.numAttributes() - 1); testData.setClassIndex(trainingData.numAttributes() - 1); // Evaluate the classifier mevaluation = new Evaluation(trainingData); mevaluation.evaluateModel(classifier, testData); System.out.println(mevaluation.toSummaryString("\nResults of evaluation\n\n", false)); } catch (Exception e) { System.out.println("Exception : " + e.getMessage()); } } catch (Exception e) { System.out.println("Exception : " + e.getMessage()); } } } </pre>And here's a screenshot of the results (click to view a larger version):<br /> <br /> <div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_D0SLDcRRiX0/S8VkLVyd_II/AAAAAAAAFkk/B6jyYIvfQUg/s1600/wekaerror.GIF" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/_D0SLDcRRiX0/S8VkLVyd_II/AAAAAAAAFkk/B6jyYIvfQUg/s320/wekaerror.GIF" /></a></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-90857054867055653?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-58511712780469283662010-04-12T09:07:00.000-07:002010-04-27T11:32:59.915-07:00I can now build a multilayer perceptron classifier, but when I try to classify instances, I get a "no input instance format defined" exception thrown by the classifyInstance method. It looks like I need to filter the data beforehand. Filtering is in section 16.5 (in particular, I think I want 16.5.2) of the Weka Manual.<br /> <br /> Off to my meeting now with Thecla. This is what I should discuss:<br /> <ul><li><b>Overall program structure</b></li> <ul><li>Hardware&nbsp;</li> <li>Hardware interface/Acceleration data reader</li> <li>Data cleaner</li> <li>Segmenter/Multiple Sliding Time Windows&nbsp;</li> <li>Motion Feature Extracter</li> <li>Classifier</li> </ul> <li>An explanation to Philippe: The reason why I didn't start doing the classification module right away is that I was still trying to understand the big picture of the problem, and I really didn't feel like I could start that one module without understanding the general problem, which is why I was looking into: hardware issues, data segmentation,salient motion features to be extracted, motion features extraction, and (of course) automated classification. But now I know better.</li> <li>What I need to know from her: First off, I do have the Max patches from Mary. Since I don't know Max/MSP, I'm learning it as I try to understand what she's done. I have deduced a few things, but these are my remaining questions:</li> <ul><li><b>Check to see if I correctly understand overall logic: </b>What is the underlying logic behind the features used to classify the acceleration data? As far as I understand, there are three consecutive sliding time windows of different sizes. Each of them collect a set number of acceleration samples (according to their size). Each of them process the acceleration data and produce a set of <a href="http://www.blogger.com/%20%20%20%20*%20http://diegomaranan.blogspot.com/2010/04/laban-progress-report-10-apr-2010.html">motion features</a>. These motion features are then set off to be classified. </li> <li><b>Weight:</b> Do you agree that Weight effort is mostly something to do with muscular tension? How does the software detect it from acceleration data?&nbsp;</li> </ul></ul>~~~~~~~~~~~~~~~~~<br /> <ul><li><a href="http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&amp;arnumber=4460688">Fading time windows</a>: could be useful? </li> <li>There's also this paper, "<a href="http://docs.google.com/viewer?a=v&amp;q=cache:r3OiKk4zmU8J:citeseerx.ist.psu.edu/viewdoc/download%3Fdoi%3D10.1.1.77.8104%26rep%3Drep1%26type%3Dpdf+%E2%80%9CMining+Time+Changing+Data+Streams&amp;hl=en&amp;gl=ca&amp;pid=bl&amp;srcid=ADGEESiH61S5DmE2jMahF4wQN2rgwC5sc29_K5Vut5PlO7XwLeC4nwbe7qP5pr-V5qcelCEhg3GHlh7aeA9l87pz3KgShud35WoYTTYROF9qaIUqe1eaQQ5ntQQXIrKLrdIN199Ka6W1&amp;sig=AHIEtbR8jYgO_3uy0F4WYyB4n3CRw9perw">Mining Time-Changing Data Streams</a>", which might be useful. It looks seminal&nbsp; (cited by 503 publications)</li> </ul>~~~~~~~~~~~~~~~~~<br /> I'm getting frustrated with Weka. It won't allow me to classify test instances. classifyInstance() keeps throwing an exception, "No input instance format defined". <br /> <ul></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5851171278046928366?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-32910221945879078652010-04-12T00:47:00.000-07:002010-04-27T11:32:58.906-07:00I said I would use Daniel Shiffman's XOR code in Processing if I decided against using Weka in Processing. I skipped that and went directly to using Weka in NetBeans. I did this partly out of instinct and partly because I reasoned that if it turns out that a single-hidden-layer feedforward network isn't the best learning algorithm, I could always switch to another one using Weka, easily. <br /> <br /> ~~~~~~<br /> A small victory! I managed to get a tiny piece of Java code to build fine. The code snippets from the Weka website oversimplifies: their classes throw a lot of exceptions, which I suppose is a good thing. <br /> <br /> Ok, now I need to make sure that my classifier is working. The next thing i have to do is write some test data.<br /> ~~~~~~~<br /> Good! I was able to get a Naive Bayes classifier to work. Whatever a Naive Bayes classifier is. (Wikipedia'd it. Thanks, World Wide Web.)<br /> <br /> Even better! I got a MultilayerPerceptron (which has built in backpropagation) to work! I don't have as fine a control over it as if I had built it. It doesn't look like I can add a bias node, for example. But it gives me wonderful statistics to work with.<br /> <br /> Ok, I guess the next step now is to train the neural network in advance, and then add data in real time and make it spit out classifications. I'm working with the Labor.arff file (really interesting, btw) which shows labor options and the decision of the union (I think it's the union; it's unlikely that it's the management) whether to accept the offer (neural network output: "good") or not (neural network output: "bad").<br /> <br /> So try this out, maybe I'll see if I can import in Processing and create a gui.<br /> ~~~~~~~~~~<br /> Um, porting it to Processing was ridiculously easy. I'm kind of shocked.<br /> ~~~~~~~~~~<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-3291022194587907865?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-55883701465355286922010-04-10T10:37:00.001-07:002010-04-27T11:32:58.228-07:00Ok, I need to sort out my thoughts. What I want to come up with right away is a classifier that can take input values. Let's create several vesions of this classifier. One takes raw acceleration values. This may not work (in fact, it probably won't work), but it shouldn't take too much work to do it. The other value takes a variety of intermediate values (motion features).<br /> <br /> So what I have to do now is identify which motion features I will want to focus on. I can draw this list from the following:<br /> <ul><li>Zhao (2001)'s motion features</li> <li>Hachimura et al (2005)'s motion features</li> <li>Whatever motion features I can extract from Mary Pietrowicz's code</li> <li>My own guesses of motion features (which will (should) be informed by the above, but also should come from my own understanding of LMA</li> </ul>After I list those down (I give myself a max of two hours to do his, so be lunchtime!) I need to start learning how to feed this into the Weka classifiers. So this means that I can assume that all the raw acceleration data has been filtered and transformed into these motion features. Done. I just need to make sure somewhere in the VERY back of my mind that I can derive that data froma acceleration data, which is OK, because even I can't, I can theoretically derive it from other sources, just like what other researchers have done. But what would then make this a contribution if it's just a rehash of older work? Therefore, I should really try to stick with pure acceleration data.<br /> <br /> Besides, the other contribution I will have (and this is where Thecla will really need to provide guidance) is my parameterization of Flow. I have yet to read previous research carefully, but I think most of the researchers who have tried to computationally model Flow didn't quite get the heart of it. I'll have to look at their validation tests for Flow. <br /> <br /> Ok, here we go!<br /> <br /> ~~~~~~~<br /> <br /> My instinct tells me right now that not <i>all</i> LMA Effort qualities can be derived from motion features extracted purely from acceleration data. Or at least we would have to do a layer of processing atop acceleration data. My instinct also tells me that I should have four trackers (assuming I get to work on them): a wrist, elbow, shoulder, and sternum.<br /> <br /> Acceleration is the derivative of velocity. It is the change in velocity.<br /> <ul><li>It is relatively trivial to infer Time from acceleration data.&nbsp;</li> <li>Space is a little bit trickier. Hachimura relied on the gaze of the performer to infer Space. Zhao relied on wrist angles and swivel angles. Zhao justifies the use of the wrist angle as a parameter to Space detection because of "careful human movement observation" because of an affinity between Indirect-Free movements with frequency in changes in wrist angle. But what is Space? I think for the purposes of IAT 888, i should define it quite narrowly as a linearity or non-linearity. There. We can build from that.</li> <li>Weight is tricky. The more I ponder it, the more I think that Zhao, quoting Moore and Yamamoto, was quite correct in identifying weight as primarily something to do with musculature. Hachimura, citing a paper in Japanase employs a definition of weight as the kinetic energy of body part, which I find hard to justify. However, it is probably worth trying out? </li> <li>Now I'm wondering whether Flow actually should be predictable based on acceleration. The impression that I had talking to Thecla about her interpretation of Flow is that it is a quality that links movements together, which I took to mean as the ability to transition smoothly from one set of efforts to another. This could be wrong, but it seems to me that free flow makes it harder to discern movement boundaries. Hm... Laban (1947) writes, "Thrusting a fork into hay as far as possible will require fluent flow of the movement, while thrusting a chisel under the lid of a box will require a bound flow so that it does not enter too far." This description suggests that flow is the envelope of certain motion features. When acceleration approaches positive or negative infinity, the Flow quality of the movement tends to Bound. It also suggests something that is going on in the musculature, similar to weight.&nbsp;</li> </ul>Now looking at Mary Pietrowicz's MSP patches, I see that she extracts various motion parameters<br /> <ul><li>From Display5DOFAnalysis and Analyze AccelDataFixed5DOF</li> <ul><li>Number of directions changes/msec (x, y, z, pitch, roll)</li> <li>Ratio of current distance to ave distance (x, y, z, pitch, roll)</li> <li>Ratio of current traj to ave trajectory to overall trajectory (x, y, z, pitch, roll)</li> <li>Ratio of stillness to overall motion (x, y, z, pitch, roll)</li> <li>Current acceleration distance interval (?) (x, y, z, pitch, roll)</li> <li>Current acceleration trajectory (x, y, z, pitch, roll)</li> <li>Average acceleration distance (x, y, z, pitch, roll)</li> <li>Average trajectory (x, y, z, pitch, roll)</li> <li>Number of direction changes/#samples in window (x, y, z, pitch, roll)</li> </ul></ul>Now the question is, of these, how many does Mary use for each Effort quality? No matter. We can figure that out later. Now the important thing to do is to start building the classifiers. <br /> <ul></ul>I may have to make a decision about how to implement motion segmentation. Zhao and Badler (2005) segmented their movement first before classifying (as far as I could understand) based on zero crossings (?) and the curvature of the movement. (I'm still not sure how exactly they did the segmentation.) Pietrowicz, however, used concurrent three concurrent sliding time windows (small, medium, large) and weighted their results. That is, there were no segments. I think in the meantime I will assume that I am using Mary's technique. This in particular affects the way I discern Time values.<br /> <br /> So in summary, I have several options for motion features that I can use for my classification. <br /> <ul><li><b>Space</b></li> <ul><li>Curvature (Zhao, 2001: 76)</li> <li>Torsion (Zhao, 2001: 76)</li> <li>Number<b> </b>of direction changes<b> </b>(Pietrowicz)</li> </ul><ul><li>Something I'm thinking of as "linearity" of the movement, which could be related to Pietrowicz's average trajectory?</li> <li> Number of direction changes (Pietrowicz)</li> </ul> <li><b>Time</b></li> <ul><li>bla bla</li> <li>bla bla</li> </ul> <li><b>Weight</b></li> <ul><li>Still trying to figure this out, too</li> </ul> <li><b>Flow</b></li> <ul><li>I'll figure this out soon<b> </b></li> </ul></ul><ul></ul>~~~~~~<br /> Questions to ask Thecla:<br /> <ul><li>What do each of the four Laban Effort qualities mean to you? How have motion recognition researchers got it wrong (and right) in the past?</li> <li>How much of the body are we tracking?</li> </ul>&nbsp;~~~~~~<br /> Time to Weka it!<br /> ~~~~~~~<br /> So for me to build the classifiers and test them (test the functionality of the classifiers, not train the system), I do need to have a VERY rough idea of what kinds of motion features I'll feed them. No worries, I'll just fake it for now. Right now what's important is that I have what I had set out to do last weekend, which was to build a classifier that can correctly classify things. Thary t means that what I need to do is build a simple classifier that can correctly identify, say, the XOR function, using Weka. But only using Weka if it's easy to learn it. Because I would have to learn how to work with Netbeans... Ah, ok, I'll see how much I can get away with working with Processing IDE building a Weka classifier. If that fails, I will try to use the XOR classifier that Daniel Shiffman had. If that fails, I willmakng a classifier in Netbeans using Weka. If that fails, then I'll take a long break.<br /> <ul></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5588370146535528692?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-1948426598779326272010-04-08T16:02:00.001-07:002010-04-27T11:32:57.246-07:00I read <a href="http://www.autonlab.org/tutorials/dtree18.pdf">this tutorial on decision trees</a> in order to understand the <a href="http://www2.cs.uregina.ca/%7Edbd/cs831/notes/ml/dtrees/c4.5/tutorial.html">C4.5 algorithm</a> in order to understand a type of <a href="http://weka.sourceforge.net/doc/weka/classifiers/package-frame.html">classifier that Weka provides</a>. It appears that the C4.5 algorithm chooses "the attribute with the highest normalized information gain" when building the tree [<a href="http://en.wikipedia.org/w/index.php?title=C4.5_algorithm&amp;oldid=341837002">source</a>].<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-194842659877932627?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-62535455716254259022010-03-26T13:49:00.000-07:002010-04-27T11:32:56.553-07:00It's been a while since I wrote, which is unfortunate since writing really help me a lot. Apparently I have a meeting with Thecla at 2 pm, which I should prepare for. I think I'm getting over my IAT888 hump (or out of the IAT888 slump, take your metaphoric pick). I spent most of Friday and Saturday trying to aprogram a single-hidden-layer neural network in Processing, which for some reason did not work at all, even though it should. ARGH. (BTW, here's a decent-looking <a href="http://fann.sourceforge.net/report/node4.html">explanation of backpropagation</a>. Of course, there's always <a href="http://www.blogger.com/http%3A%2F%2Fwww.amazon.com%2Fexec%2Fobidos%2FASIN%2F0136042597%2Fref%3Dnosim%2Fzoundry0b-20">Russell and Norvig's book</a>. Daniel Shiffman has <a href="http://www.openprocessing.org/visuals/?visualID=159">a visualization of an neural net learning the XOR function</a> and a <a href="http://www.shiffman.net/teaching/nature/nn/">general overview of backpropagation</a>.) Ok, so these are the things I need to do in terms of building the prototype: <br /> <ol><li>Hardware layer:</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ol><li>Get the Funnel IO board talking to the accelerometer (right now I have the accelerometer talking to an Arduino board)</li> <li>Mount the XBee on the Funnel IO and wirelessly transmit accelerometer data to the XBee receiver</li> <li>Get <a href="http://processing.org/reference/libraries/serial/">Java/Processing to read data from the serial port</a></li> </ol></li> <li>Software layer</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ol><li>General issues</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ol><li>Learn the Weka library</li> <li>Call Weka library from within Processing</li> <li><span style="font-weight: bold;">Data Input Module:</span> Use the Weka <a href="http://weka.sourceforge.net/doc/weka/core/Instance.html">Instance</a> class to <a href="https://list.scms.waikato.ac.nz/mailman/htdig/wekalist/2008-July/013829.html">work with streaming data, as hinted in this discussion</a>.</li> <li><b>Segmentation Module:</b> Segment the samples using Mary's adaptive sliding window (not sure exactly how that works but <a href="http://www.cs.waikato.ac.nz/%7Eabifet/MOA/StreamMining.pdf">this document from Waikato has a chapter on adaptive sliding windows</a>, and there's this bit about <a href="http://web.engr.oregonstate.edu/%7Etgd/software/RSW/">recurrent sliding windows</a> which I havne't really looked into) or use any of the other segmentation mechanism</li> <li><b>Feature Extraction Module</b>: Figure out what kind of motion features to extract</li> <li><b>Classification Module</b>: This will probably be a neural network-based module. It will have two features: a training feature and a feedforward feature.</li> </ol></li> <li>Training phase</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ol><li>Do the training</li> </ol></li> <li>Performance phase</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ol><li>Uh, test it out.</li> </ol></li> </ol></li> </ol>So what I need to do is concentrate on working on the individual software modules, and learnign to use Weka. <br /> <ul><li>There's a <a href="http://proxy.lib.sfu.ca/login?url=http://www.netLibrary.com/urlapi.asp?action=summary&amp;v=1&amp;bookid=130260">data mining book</a> that was written by the authors (?) of Weka that could help me because it uses Weka in the examples. </li> <li>I finally found details on how to <a href="http://weka.wikispaces.com/How+do+I+use+WEKA%27s+classes+in+my+own+code?">use Weka from my own code</a>, with code samples to boot! Yay. I found this in the <a href="http://weka.wikispaces.com/Frequently+Asked+Questions">WEKA FAQ</a>, which I should have consulted early on.</li> <li>The <a href="http://weka.wikispaces.com/Primer">Weka primer</a>. </li> <li>A collection of Weka PDF tutorials and guides: <a href="http://www.cs.waikato.ac.nz/%7Eihw/papers/05-EF-etal-WEKA-AMachineLearning.pdf">1</a>, <a href="http://iweb.dl.sourceforge.net/project/weka/documentation/3.5.x/ExplorerGuide-3-5-8.pdf">2</a>, <a href="http://www.cs.waikato.ac.nz/%7Eabifet/MOA/StreamMining.pdf">3</a></li> <li>A tutorial on the UAlberta website on <a href="http://webdocs.cs.ualberta.ca/%7Ec603/weka.shtml">using the Weka Experimenter</a>.</li> <li><a href="http://www.cs.waikato.ac.nz/%7Eml/weka/index_related.html">Weka related tools</a>:</li> <li style="list-style-type: none;"> <br /> <br /> <br /> <ul><li><a href="http://www.cse.unsw.edu.au/%7Ewaleed/tclass/">TClass</a>: A supervised learning algorithm for multivariate time sets (but seems a little old by now) </li> </ul></li> <li>And I guess if I need to, there's the <a href="https://list.scms.waikato.ac.nz/mailman/listinfo/wekalist">Weka mailing list</a> I could subscribe to and shoot a question to. I also need to investigate <a href="http://www.cs.waikato.ac.nz/%7Eabifet/MOA/">MOA</a> if I'm ever stuck; MOA is a framework for data stream mining. </li> </ul>I think one of the first things I need to do is to get a very simple classification happening in the Processing environment. Otherwise, I'll need to do the classification by implementing my own neural net. The thing is, I already tried doing that, and it took me forever to get something working. I might as well devote the time to learn the Weka library, which I'll be wokring on anyway. So conferences that I should consider submitting to: ACM Multimedia, SIGCHI, the journals that the papers I am working off of were published, etc....<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6253545571625425902?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-57992786423598359992010-03-22T23:21:00.001-07:002010-04-27T11:32:55.921-07:00So I'm switching tactics now by concentrating on getting accelerometer data instead. I have a <a href="http://www.sparkfun.com/commerce/product_info.php?products_id=9268">IMU 5 Degrees of Freedom</a> board which I'll attach to an Arduino Diecemila (Funnel IO board is still not working in spite of expert help, AAARRRGGGHHH) thanks to this wonderful <a href="http://www.glacialwanderer.com/hobbyrobotics/?p=261">Arduino+Processing+ accelerometer</a> tutorial.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5799278642359835999?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-3441262790523393372010-03-21T19:14:00.000-07:002010-04-27T11:32:54.855-07:00After consulting with Norman last night, trying to figure out what was going wrong with my Funnel IO/<a href="http://arduino.cc/en/Main/MiniUSB">Mini USB</a> setup, we came to the conclusion that...<br /> <br /> <ol><li>We should try hooking up the the other Funnel IO board to the Mini USB</li> <li>I'll wait for the FTDI Basic Breakout component to arrive</li> <li>I forget about the Funnel IO board for now and just work with regular Arduino; Pat really needs data!</li> <li>I could also try programming the board wirelessly, but really there's no need for that at least for now</li> </ol><br /> I'm baffled at how <a href="http://www.robotshop.com/funnel-io-microcontroller-atmega168.html">robotshop</a> and <a href="http://www.sparkfun.com/commerce/product_info.php?products_id=8957">sparkfun</a> have links to the specs for the Funnel IO, but the funnel website's page for the IO doesn't. :S<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-344126279052339337?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-61561479180519769902010-03-16T21:08:00.000-07:002010-04-27T11:32:54.165-07:00A long day. It started off with a meeting with Thecla, then with a meeting with Philippe, then class. I need to sort a bunch of different things in my head right now, so I blog.<br /> <br /> In the meeting with Thecla, we decoupled Pat's L-system visualization system from the Laban Effort Recognition system that I will be developing. Actually, the meeting with Philippe resulted in exactly the same thing, i.e., separating the abstract aesthetic visualization system from my work. I've also come to the conclusion that I cannot wait for our partners in the US to hand us the code right now as Pat desperately needs a system that he can work with. So I believe I have to do all the Laban Effort Recognition "from scratch", at least in the meantime. And by "from scratch", I probably actually don't mean from scratch. What I need to do is read in close detail the prior work done in LMA-based recognition:<br /> <ul><li><span style="font-size: 78%;">Bouchard, D., &amp; Badler, N. (2007). Semantic Segmentation of Motion Capture Using Laban Movement Analysis. In Proceedings of the 7th international conference on Intelligent Virtual Agents (pp. 37-44). Paris, France: Springer-Verlag. Retrieved from http://portal.acm.org/citation.cfm?id=1421884&amp;dl=GUIDE&amp;coll=GUIDE&amp;CFID=79200344&amp;CFTOKEN=54384458</span></li> <li><span style="font-size: 78%;">Camurri, A., Hashimoto, S., Suzuki, K., &amp; Trocca, R. (1999). KANSEI analysis of dance performance. In Systems, Man, and Cybernetics, 1999. IEEE SMC '99 Conference Proceedings. 1999 IEEE International Conference on (Vol. 4, pp. 327-332 vol.4). Presented at the Systems, Man, and Cybernetics, 1999. IEEE SMC '99 Conference Proceedings. 1999 IEEE International Conference on.</span></li> <li><span style="font-size: 78%;">Dilip, S., Harvey, T., Jessica, M., Stjepan, R., Jodi, J., Todd, I., Ellen, C., et al. (2009). A Dynamic Bayesian Approach to Computational Laban Shape Quality Analysis. Advances in Human-Computer Interaction, 2009.</span></li> <li><span style="font-size: 78%;">Rett, J., &amp; Dias, J. (2007). Bayesian models for Laban Movement Analysis used in Human Machine Interaction. In Proceedings of ICRA 2007 Workshop on "Concept Learning for Embodied Agents".</span></li> <li><span style="font-size: 78%;">Rett, J., Dias, J., &amp; Ahuactzin, J. M. (2008). Laban Movement Analysis using a Bayesian model and perspective projections. In C. Rossi (Ed.), Brain, Vision and AI (pp. 183-210). Vienna: InTech Education and Publishing.</span></li> <li><span style="font-size: 78%;">Zhao, L., &amp; Badler, N. I. (2005). Acquiring and validating motion qualities from live limb gestures. Graphical Models, 67(1), 1-16. doi:10.1016/j.gmod.2004.08.002</span></li> </ul>I especially need to look at any work by Zhao and by Badler.<br /> <br /> What I think I came way with today, feeling quite shocked by the realization of it, was just how "mathy" (thanks to <a href="http://www.okcupid.com/profile/nooodlepop">noodlepop</a> for that term) and computer science-y I will suddenly have to be to work on the Laban Effort Recognition system. Damn. But at least this is only for the first part (i.e., the next 3-5 months). And then afterwards I can probably move on to more applied and creative stuff. But the first bit... oh my Lord. I can do this.<br /> <br /> I think what I'm feeling sad about is that this is taking up so much of my time that I haven't been able to think about my thesis work. And tonight, Ben presented a few really good methods for saying something meaningful about Biomodd, which is being compounded by my anxiety over the fact that I have to present something next Wednesday. (Which reminds me, I should set a definite time for my trial presentation.) My fear is that if I wanted to use Biomodd as the basis for a paper, by the time I get to it and have developed an understanding of the methods I need to write about it, it will be, like, two years from now. Is that too late? :S<br /> <br /> So to recap: I need to talk to Thecla about my concerns for my thesis (I'll need to structure our conversation) and the research topic that I'm supposed to talking about in class. I also need to do all the quali readings, which really are very useful, except that I haven't had time to read them, plus I feel a certain disconnect from qualitative analysis now that suddenly I have to focus so much on quantitative work viz a viz the metacreation project and this stage of the Laban Research project. But above all, I really need to focus on the Biomodd presentation now.<br /> <br /> As in, RIGHT NOW.<br /> <br /> :S<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6156147918051976990?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-64589061037770178902010-03-15T13:43:00.000-07:002010-04-12T11:09:46.801-07:00I don't know why I'm making all these notes public, other than the fact that somehow by putting these up for everyone to see, I become more efficient. Like I have to keep to my word in public. Also, it helps me sort through things.<br /> <br /> Anyway, the focus of my work today is to work on the Biomodd presentation I have to give next week. I also have to set up an appointment for everyone where I can test run my presentation.<br /> <br /> Tomorrow, I'm meeting with Thecla and then with Philippe, and with Pat. I want to get our project in for <a href="http://www.arts-humanities.net/cfp/drha_2010">DRHA 2010</a>.<br /> <br /> Then I need to start figuring out my thesis. I'm wondering if there's kind of an underlying theme in all of the projects that I'm doing. I need to spend time looking at that. I should use one of the large whiteboards available in the labs. I could still continue to use Vue and Linoit to sketch out my ideas, but I seem to also need a full-body engagement with listing my ideas.<br /> <br /> I had a short inspiring conversation with Adam this morning about his interest in public display screens for advocacy. What I really need to start doing is compiling a list of ICT+Art4D work. Yeah, that's right. YEAH!<br /> <br /> Ok, so today:<br /> <ol> <li>Work Biomodd presentation</li> <li>Continue making comments on my MMS 171 students' submissions for their multimedia scrapbook.</li> <li>Make another dent on EDDE 221 module 4.</li> <li>Start compiling ICT4D+Art4D work.</li> </ol><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6458906103777017890?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-74896837805129280832010-03-08T19:36:00.000-08:002010-03-09T00:06:59.340-08:00I'm getting so lost in all the readings that I have to keep reminding myself of what I'm trying to do for this project. I feel like I've come up with a solution (i.e., a nifty thing) without really understanding what problem it's actually addressing. My general issue is how do I justify the work that I'm doing? Why should anyone care? The map that I've been working on will be very useful for many of my projects. But for the metacreation project, I think I need to focus on the rationale for<span style="font-weight: bold;"> linking human movement qualities to abstract visualizations</span>. Let's start with Alan Dorin (2004) and his discussion on virtual ecosystems as a way of creating a new kind of generative art. <ul><li>Why use virtual ecosystems? In general, they provide new "aesthetic selection" outcomes </li><ul><li><span style="font-weight: bold;">"demonstrates complex dynamics over fine and coarse timescales" </span> With most aesthetic selection, I suppose, you can only really see interesting results on a per-epoch basis. I mean you could present them in a not-so-discrete (i.e., in a more continuous) way, as series of animations for example. But the point is that you may not get to see the interesting small-scale processes and changes in "traditional" generative digital art. They are not visualized. You don't get to see the changes, the negotiations, the effect of the fitness function... actually, wait, you may not get to see even that in a virtual ecosystem. So to a certain extent, many processes will probably remain opaque in a virtual ecosystem.)</li><li><span style="font-weight: bold;">"explore large search spaces independently of human input"; </span>Of course, this isn't unique to virtual ecosystems. I wonder whether Dorin means that evolutionary art tends to rely on a "subjective fitness" (as defined by Floreano and Mattiussi) function</li><li><span style="font-weight: bold;">"potential for user events to influence its behaviour"</span> I assume by that this he means that phenomena from the outside world (e.g., the exhibition space) can be used to influence the conditions inside the virtual ecosystem</li><li><span style="font-weight: bold;">"potential to allow artist-laid constraints on the search spaces" </span>I'm not entirely clear why he highlights this as a feature particular (or even unique?) to virtual ecosystems. But I'm guessing that it has something to do with the fact that sometimes the artist and the programmer are not the same person...? Grasping at straws.</li></ul></ul> Actually, reading his abstract, it seems that these four are what he proposes to be "desirable attributes of processes to be applied in generative electronic art". Generative electronic art hs defines as "an art form in which a process (physical, chemical, conceptual or other) acting to some extent outside the control of the artist, is responsible for the production of the artwork, or actually constitutes the artwork"/. Probably the most important justification for our work is that it can be used in a performance setting. Much work has been done on tracking human bodies in a performance space (CITE!! EXAMPLES OF BOTH SYSTEMS AND PERFORMANCES). There has also been work done in recognizing and classifying LMA-based properties; Zhao &amp; Badler (2005) have been able to "automatically extract motion qualities from live performance" using a neural network. They actually provide a food overview of dynamic motion recognition and classification; I should cross-check their references with the references of Tom Calvert's papers; I expect there to be significant overlap. Oh, you know what. I need to read Zhao &amp; Badler in more depth, but I could say that I'm going to be implementing the work that they've done. No, wait. I could say that I'm reimplementing the system that Thecla's company developed, but extending it possibly by validating what we did against Zhao &amp; Badler, which means I would have to reproduce their system... which is probably going to take a lot of work as it stands. But at any rate, there. I can cite some Laban-based recognition work that's done before. Actually, I still have no idea how Thecla's system works. Does it use a neural network? (I will have to fudge that bit.) Bouchard &amp; Badler (2007) ... oops, gotta take a break. ==== start rant ==== Actually, Zhao &amp; Badler's paper looks wonderful. You know what, I'm actually getting excited. (Yeah, I know part of the reason why... my entire being is continuing its (probably temporary) shift away from the grounded and obvious kinds of concerns in the Philippines and is drifting into the more theoretical interests that is the nature of academia/SIAT/Canada/art-in-the-developed-world, but that's OK... it's all part of the grand cycle...) I think it's also because I love how sciencedirect.com gives an HTML version of articles, complete with hyperlinked citations! Woohoo! ==== end rant ==== <h1>Abstract visualization of human movement </h1> Okay, this is fantastic. The <a href="http://synchronousobjects.osu.edu/">Synchronous Objects</a> project is an absolutely fantastic example of abstract visualizations generated from movement. However, the visualizations they generate differ from what Pat and I intend to do: <ul><li><a href="http://synchronousobjects.osu.edu/content.html#/dataFan">DataFan</a> "translate[s]" the dance "into a dynamic three-dimensional" structure that "creates its own form of counterpoint. The animation is generated using sync-up data from the dance that determines the number of blades in the fan. Then a series of geometric operations fold and twist the data around itself". Note that in this case, the visualization is of choreographic structure, not human movement or properties of human movement. There doesn't seem to be an intuitive, obvious correlation between the properties of the fan (either in its physical appearance or in its kinetic properties) and the choreographic structure. However, the fan is very evocative. </li><li><a href="http://synchronousobjects.osu.edu/content.html#/motionVolumes">MotionVolumes</a> are based on the peripheries of the dancers motions. It has a "tactile and immersive quality". </li><li>The <a href="http://synchronousobjects.osu.edu/content.html#/statisticalCounterpoint">StatisticalCounterpoint</a> view aims to show trends in the choreography using parallel coordinates, a visualization technique used for multi-dimensional data. However, the team does not specify how the resulting visualization could be used; I'm guessing that it would take a more specialized eye (one that is used to looking both at parallel coordinate charts, AND choreographic notes) to extract something meaningful. </li><li>The <a href="http://synchronousobjects.osu.edu/tools/generativeDrawingTool.html">GenerativeDrawing Tool</a> allows the user to generate a drawing using data extracted from the dance. </li><ul><li>Dance data include </li></ul><ul><ul><li>"Activity bursts (movement vs. stillness)"</li><li>"Directional flow (groups moving in the same direction"</li><li>"Alignment Density" </li><li>"Cue Desnsity"</li><li>"Material Density"</li><li>"Distance"</li><li>"Alignment Events"</li><li>"Cue Events"</li><li>"Negative Space"</li><li>"Number of Dancers"</li></ul><li>Visual drawing parameters include</li><ul><li>Number</li><li>Noise</li><li>Speed </li><li>Brush Shape</li><li>Size</li><li>Turning</li><li>Hue</li><li>Saturation </li><li>Brightness</li><li>Opacity</li></ul></ul></ul> (I'm geeking out. I just came from a workout and I resisted the temptation to grab a piece of fried fish (yum) from the Chinese restaurant next door, and I'm instead working on carton of chocolate milk and a salad made with alfalfa sprouts, cilantro, green onions, black sesame seeds, pumpkin seeds, sunflower seeds. I'm beginning to wonder whether wheat and simple carbs like rice affect my ability to think.) that allowed an animator or a procedural motion synthesizer to modify a given limb motion with qualities based on the 8 LMA factors. So let me try to work this out in writing. Pat and I are developing a system for <ul><li>Problem:</li><li>Solution: </li></ul> Dorin, A. (2004). The Virtual Ecosystem as Generative Electronic Art. In Applications of Evolutionary Computing (pp. 467-476). Retrieved from http://www.springerlink.com.proxy.lib.sfu.ca/content/env4xdm72n0xpdax<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7489683780512928083?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-8525579610139990492010-03-08T14:26:00.000-08:002010-03-08T14:49:46.629-08:00I allowed myself to be dragged by my biology PhD friend to attend a biophysics presentation. Some things I found interesting: <ul><li>An emphasis on the different locomotive properties of biological components. Step over step versus inchworming. The use of external structures that attach to the component to enhance or alter movement.</li><li>The importance of backtracking in order to avoid obstacles (????) and eventually go forward. </li><li>The intersection of quantum physics and biology: using <span style="font-style: italic;">total internal reflection fluorescence microscopy</span> to see single molecules. That's not really relevant to my research, but it was COOL.</li><li>There are lots of cute grad students in physics/biology. The numbers contrast strongly to the the frequency of cute grad students in interactive technology.</li></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-852557961013999049?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-39064550280649850152010-03-06T21:10:00.000-08:002010-04-12T11:15:36.314-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_D0SLDcRRiX0/S5b5KtJx8XI/AAAAAAAAFgI/dnLBAJ0Sf1g/s1600-h/ConceptMap_ForPaper_IAT888_Project.jpeg"><img style="cursor: pointer; width: 436px; height: 183px;" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/S5b5KtJx8XI/AAAAAAAAFgI/dnLBAJ0Sf1g/s400/ConceptMap_ForPaper_IAT888_Project.jpeg" alt="" id="BLOGGER_PHOTO_ID_5446814761665818994" border="0" /></a> <div style="text-align: center;"><div style="text-align: left;">I've been working on both my annotated bibliography and my IAT 888 Metacreation project paper all day. It's been rewarding so far! But I need more hours in the day! Here's my concept map so far. There's not much AI in it right now, other than the fact that most of the motion recognition and classification systems use neural networks. I still have so much reading to go through: <ul><li>Michael Nixon's thesis on Delsarte applied to virtual humans (again the idea that emotion can be used for parameterizing motion, so it would sit somewhere on the bottom right of the chart)</li><li>Thecla's dissertation and her bibliography on the rationale for Laban Efforts as a useful tool for parameterizing expressivity (a word that I haven't even used until now, but which I think I might need to!) or a computational model of expressive behavior </li><li>Lyn's bibliography: <span style="color: rgb(192, 192, 192);">her work is kind of the reverse of mine in that she wants to show that motion has inherent expressivity, whereas I want to show that... wait. </span>Actually, the Lyn's work and Thecla's work are parallel, opposite, and complementary to each other; it seems like understanding the relationship between some of the themes they are articulating is crucial to my being able to clearly articulate what Pat and I are trying to do. I need to think about this some more.</li></ul>And then I should go mostly forward and some backward in the bibliography to see who has cited their work. I believe my brain is done for the day. </div><div style="text-align: left;"> </div> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-3906455028064985015?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-23750753735409980292010-03-06T11:45:00.000-08:002010-04-14T16:48:08.432-07:00<a href="http://4.bp.blogspot.com/_D0SLDcRRiX0/S5LD8YCeafI/AAAAAAAAFfw/WoA1CUdJO7g/s1600-h/130874432_2e27d5781b_m%5B1%5D.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5445630341456751090" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/S5LD8YCeafI/AAAAAAAAFfw/WoA1CUdJO7g/s200/130874432_2e27d5781b_m%5B1%5D.jpg" style="cursor: pointer; float: right; height: 200px; margin: 0pt 0pt 10px 10px; width: 150px;" /></a>I got up this morning with the oddest (and funnest) thought in my head. <a href="http://www.robotsrule.com/html/samsung-refrigerator.php">This Samsung refrigerator relies on RFID tags to monitor food levels in your fridge</a> and automatically orders supplies when they are low, but I (or someone) should write an embedded program that can suggest recipes from whatever is in your fridge and pantry. Several websites already offer a similar service: <a href="http://supercook.com/">supercook.com</a>, <a href="http://bbc.co.uk/food/">bbc.co.uk/food</a>, <a href="http://www.recipematcher.com/">recipematcher.com</a>. But what would be really impressive is not just single recipe suggestions, but an entire 3-course meal (perhaps even for an entire day, or the week!) that optimizes your use of all the ingredients.<br /> <br /> Of course, as I write this down, I feel a pang of guilt: this application would probably be only useful for people who have well-stocked refrigerators and pantries. Hm. Can you say "privilege"?<br /> <br /> <div about="http://www.flickr.com/photos/by-james/130874432/" cc="http://creativecommons.org/ns#" style="text-align: right;"> <span style="font-size: 78%;"><a href="http://www.flickr.com/photos/by-james/" rel="cc:attributionURL">http://www.flickr.com/photos/by-james/</a> / <a href="http://creativecommons.org/licenses/by/2.0/" rel="license">CC BY 2.0</a></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2375075373540998029?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-59020179177198767072010-03-05T11:09:00.000-08:002010-04-12T11:15:36.314-07:00So I have a meeting with Thecla today.&nbsp; <h1> Strategy</h1> <ol> <li>Explain the two different projects and one potential project that I'm working on.</li> <li>Discuss the fact that finalizing the <a href="http://docs.google.com/Doc?docid=0AewO9-sIWk6lZGNmMzZiYzdfODFkc2ZqYzVmaw&amp;hl=en">MITACS revision</a> will mean having to clarify </li> <ol> <li>which of the three the MITACS project should be based on</li> <li>to what extent does the it have to still be based on small motion data or generally build upon the previous work by Lyn and Ai</li> </ol> <li>Discuss my thesis, particularly my research question</li> </ol> <h1> My Laban-related project list to date </h1> So I need to be clear on the various projects I'm working on <ul> <li><span style="font-weight: bold;">Visualization of motion using abstract animations</span>An IAT 888 project with Pat Subyen. We'll be visualizing Laban Effort qualities of human movement using animated (hopefully) shapes generated using L-systems.</li> <li><span style="font-weight: bold;">Thesis</span></li> <ul> <li>Developing a somatics-based learning objectives</li> <ul> <li>Why somatics? </li> <ul> <li>Leads to well being (needs evidence)</li> <li>Not being addressed in public curricula in the Philippines (needs evidence) </li> </ul> <li>Why learning objectives?</li> <ul> <li>The results of this will be applied towards instructional design.</li> </ul> </ul> <li> Developing a somatics-based learning objectives through participatory design process</li> <ul> <li>Why participatory design</li> <ul> <li> </li> </ul> </ul> <li> Developing a somatics-based learning objectives through participatory design process centered on collaboration through asychronous communication </li> <ul> <li>Why asychronous</li> </ul> </ul> <li><span style="font-weight: bold;">The MITACS research</span>Either of the above, or some other application of the Laban Effort Recognition system (in combination with visualization)</li> </ul> <h2 style="font-style: italic;"> IAT 888 Metacreation Project: Issues</h2> <ul> <li>Need partner response on </li> <ul> <li>software</li> <li>usage</li> <li>publications?</li> </ul> </ul> <h2 style="font-style: italic;"> Laban Effort Research and Meaning from Motion: Issues</h2> <ul> <li>Updates</li> <ul> <li>Hardware: Documented on this blog. Need to buy hardware from Lee's</li> <li>Creative application: Metacreation project</li> <li>Blog</li> <li>Readings</li> </ul> <li>Mitacs issues</li> <ul> <li>Ties into either the IAT 888 project, my thesis; let's figure out what exactly my Mitacs research is</li> <li><span style="color: red;">UPDATE: Some key points to raise</span></li> <ul> <li><span style="color: red;">We are not only reconstructing/reimplemnting the system (we have to since some of the key components were developed at UIUC while Thecla's company was working with them), but we are we also extending it as part of emerging research on the potential of <span style="font-weight: bold;">motion analysis</span> and <span style="font-weight: bold;">motion expression</span>. </span></li> <li><span style="color: red;">Methodology</span></li> <ul> <li><span style="color: red;">reimplementing</span></li> <li><span style="color: red;">remapping</span></li> <li><span style="color: red;">testing the system / training the system to recognize and interpret</span></li> <li><span style="color: red;">visualization for real-time performance</span></li> </ul> </ul> </ul> <li>Partner issues</li> <ul> <li>What kind of formal commitments doe they have to us? </li> <li> What strategies I can use to get them to deliver? I'm not sure what I can use. I can't threaten</li> </ul> </ul> <h2> <span style="font-style: italic;">IAT 801: Issues</span></h2> <ul> <li>Assignments: Annotated bibliography and data matrix</li> </ul> <h2> <span style="font-style: italic;">Thesis: Issues</span></h2> <ul> <li>General goals as an academic/teacher/artist</li> <ul> <li>Get more people (e.g., my students) to learn a somatic practice. </li> <ul> <li>I don't care from whom.</li> <li>I don't care which.</li> <li>What does this have to do with technology? * Has to be in an ODL/Web context.</li> </ul> <li>Create a narrative live performance that tells a story using a combination of kinetic digital art and storytelling </li> <li><span style="color: red;">UPDATE: This is good. I just now need to decide which is my MSc and which is an outside project. My impulse, of course, is to go with the somatic practice project as my thesis because</span></li> <ul> <li><span style="color: red;">I know how to get funding for these through the MFM project if I couple this with visualization. For example, I still want to do those illustrations of spines moving, showing how not compress intervertbral discs; of muscle fibers contracting and releasing, myosin and actin. Well, these could form a class of visualizations which are more illustrative and diagrammatic. However, I could also create/design/explore a set of visualizations that convey movement qualities. That could come directly out of the research I'm doing with Pat.</span></li> <ul> <li><span style="color: red;">Can a set of visualizations convey movement qualities? How can they? (see illustration below)</span></li> </ul> <li><span style="color: red;"> </span></li> </ul> </ul> <li>Same issues as IAT 801</li> <li>I need more time to just read.</li> </ul> <span style="font-weight: bold;"> </span><a href="http://3.bp.blogspot.com/_D0SLDcRRiX0/S5GBZndd36I/AAAAAAAAFfI/gY3zpUYuxYM/s1600-h/QualityOfMovement-Visualization.jpeg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5445275701556928418" src="http://3.bp.blogspot.com/_D0SLDcRRiX0/S5GBZndd36I/AAAAAAAAFfI/gY3zpUYuxYM/s320/QualityOfMovement-Visualization.jpeg" style="cursor: pointer; height: 154px; width: 320px;" /></a> <h1> </h1><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5902017917719876707?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-64300350762688113122010-03-03T19:10:00.001-08:002010-04-12T11:15:36.315-07:00I'm waiting for a response from our partner folks in the US about the software. I believe there are some NDS or IPR issues that are holding them back from sending me the software. I also need to ask them two things: <ul> <li>Sample output of the Laban Effort Recognition System (I'm going to call it LERS from now on) so that Pat has something to work with.I need to know, in particular</li> <li style="list-style-type: none;"> <ul> <li>Which of the four Laban Effort qualities they support (I'm guessing all four?)</li> <li>What form the data takes. I'm imagining some kind of 4-tuple of Space, Weight, Time, Flow, and then maybe a timestamp? It's possible that they only sense 3 of the 4 efforts; it's even possible that they return only a stream of Basic Laban Efforts (dab, glide, float, flick, punch, slash, press, wring).</li> <li>Whether the data values for the efforts are dicrete (e.g., Heavy or Light) or continuous</li> </ul> </li> <li>I can't remember the other thing, other than what I already emailed them about: A description of how they used the system in an artistic way during Astral Convertible</li> </ul> What I definitely need to do is provide Pat with a blackbox system of some sort that he can use. Yes, I think I'll give him a Processing class.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6430035076268811312?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-78916624430660162882010-03-02T11:44:00.000-08:002010-04-12T11:15:36.316-07:00<a href="http://4.bp.blogspot.com/_D0SLDcRRiX0/S41sdQMjp4I/AAAAAAAAFeI/51TPf1ufGLU/s1600-h/0302001150.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5444126774380439426" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/S41sdQMjp4I/AAAAAAAAFeI/51TPf1ufGLU/s200/0302001150.jpg" style="cursor: pointer; float: left; height: 152px; margin: 0pt 10px 10px 0pt; width: 204px;" /></a>So I'm encountering two problems right now.<br /> <br /> 1) My <a href="http://funnel.cc/Hardware/FIO">Funnel IO board</a> goes through a funny light pattern when I power it. It could be just the bootloader starting up. But I also don't see an On light on the board to signal that it's getting power. I think I have the pins of the Funnel IO correctly connected to those of the FTDI mini. (Is it an FTDI mini? I couldn't find a component exactly like it online. I know that the chip is labeled FTDI 0643-A FT232RL. Photos at the end of this post.) I also know that I've installed the <a href="http://www.ftdichip.com/Drivers/VCP.htm">latest FTDI drivers</a>. Here's the pattern:<br /> <br /> <object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/wR3Q4XVL4-g&amp;hl=en_US&amp;fs=1&amp;"> <param name="allowFullScreen" value="true"> <param name="allowscriptaccess" value="always"> <embed src="http://www.youtube.com/v/wR3Q4XVL4-g&amp;hl=en_US&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /> <br /> Here's the mapping I used to connect the FIO and the FTDI:<br /> <div style="font-family: courier new;"> <pre>--------------- | FIO | FTDI | --------------- | GND | - | | AREF | | | 3V3 | + | | RX1 | TX | | TX1 | RX | ---------------</pre> </div> <br /> <a href="http://4.bp.blogspot.com/_D0SLDcRRiX0/S41spQEPsLI/AAAAAAAAFeQ/Pm_3fMYcEy8/s1600-h/arduinoerror.GIF" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5444126980504006834" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/S41spQEPsLI/AAAAAAAAFeQ/Pm_3fMYcEy8/s200/arduinoerror.GIF" style="cursor: pointer; float: right; height: 200px; margin: 0pt 0pt 10px 10px; width: 195px;" /></a>2) I'm having trouble uploading the simple LED blinking program. I get the following error when I try to upload it to the board:<br /> <blockquote> avrdude: stk500_getsync(): not in sync: resp=0x00<br /> avrdude: stk500_disable(): protocol error, expect=0x14, resp=0x51</blockquote> I'm pretty sure I selected the correct board (Arduino Pro or Pro Mini (8MHz) ATmega168).<br /> <br /> But now I have to get back to other business, including revising the proposal for Mitacs.<br /> <br /> Left off at page 40 at Making Things Talk.<br /> <br /> <span style="font-weight: bold;">Update, March 3</span><span style="font-weight: bold;"><br /></span>I have these questions:<br /> <ul> <li>Should I solder the jumper on the FIO board as specified on <a href="http://funnel.cc/Hardware/FIO">the FIO wireless programming instructions</a>? I tried to read the <a href="http://www.sparkfun.com/datasheets/DevTools/Arduino/FIO-v18.pdf">schematic of the FIO board</a> and inspect the board closely. I think I only need to do this once I start working with the XBee receiver. Which is what the On/Off switch is for.</li> <li>Should I just program this board wirelessly? If I do then I need to make sure I have the correct XBee receivers (I have XBee Pros but the instructions say something about <a href="http://funnel.cc/Hardware/FIO">using series 1 (and not 2 or 2.5) XBee RF modems only</a>. <span style="font-weight: bold;">Update: </span>A discussion on the Arduino forum also seems to indicate that working <a href="http://www.arduino.cc/cgi-bin/yabb2/YaBB.pl?num=1240842708">with XBee pros to program the FIO boards</a> may nt work.) If I do, then I also need to get an <a href="http://www.sparkfun.com/commerce/product_info.php?products_id=8687">XBee Explorer USB</a>. The folks at Illinois didn't. But they did use an FTDI Basic Breakout, which I should therefore order if this FTDI mini thing still doesnt' work.</li> </ul> <br /> <br /> <a href="http://2.bp.blogspot.com/_D0SLDcRRiX0/S47AksGrWFI/AAAAAAAAFec/5DOwvk2bJac/s1600-h/FIO.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5444500736084498514" src="http://2.bp.blogspot.com/_D0SLDcRRiX0/S47AksGrWFI/AAAAAAAAFec/5DOwvk2bJac/s200/FIO.jpg" style="cursor: pointer; height: 200px; width: 108px;" /></a><br /> <br /> <a href="http://1.bp.blogspot.com/_D0SLDcRRiX0/S47ArvAKv3I/AAAAAAAAFek/4yW2K2PAf1o/s1600-h/MiniFTDI.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5444500857121587058" src="http://1.bp.blogspot.com/_D0SLDcRRiX0/S47ArvAKv3I/AAAAAAAAFek/4yW2K2PAf1o/s200/MiniFTDI.jpg" style="cursor: pointer; height: 100px; width: 200px;" /></a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7891662443066016288?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-14487941444193728932010-03-01T12:55:00.001-08:002010-04-12T11:15:36.317-07:00What am I trying to do here? On a practical level, I am trying to create an outline for my theoretical presentation for the Metacreation class. That is, I'm trying to find the subject for my presentation. The epexctation so far is that I will be presenting something about Alan Dorin's work. What I had started to articulate in my communication with Philippe is that i was very interested in his work with movement, or his preoccupation with movement. So one approach I could take is to go through all his work that may be related to it, specifically those that reference that single work I cited. That's it. That's the first step. And then I should go through the Bio-inspired Artificial Intelligence book and take the ideas from there which will form the basis for my theoretical presentations. By the end of this day I should have an outline for my theoretical presentation which I will present to Philippe so he can review. And then after than I should revisit my work with Patt. I should take a look at the charts we made but there's no need to revise them too much. What's really more important for me is to decide on the overall scope and intent of the project. ~ <span style="font-style: italic;">minutes later</span> So I<span style="font-style: italic;">'</span>ve<span style="font-style: italic;"> </span>shifted my focus now, partly because I think I've narrowed down (in general, ha) I want to do for my theoretical research presentation. I think I will talk about <span style="font-weight: bold;">the role of movement in the metacreations of alan dorin, and an application of his ideas to a kinetic art creator. </span><ol><li>i'll talk about some of his theories about movement and what it conveys (expressivity?), although some of this theories i will infer from his discussion of his work. For example, he talks about how the repetitive screening is common both to Jon McCormack's <span style="font-style: italic;">Turbulence</span> and the highly-recognizable video of the now extinct Tasmanian tiger, and that this diminishes the life-ness of <span style="font-style: italic;">Turbulence</span>. But he articulates his ideas on movement in relation to kinetic art very explicitly in one of his articles.</li><li>I'll discuss the mathematics and computational foundations behind some of his work (so it'll be more of a survey work). (Should I include a discussion on cellular automata?) </li><li>I'll discuss (if I can find it in his work) the idea that movement is central to conveying life. Not only that, but I will claim that his attention to movement is what makes his work engaging. (God I really need to see his work.) </li><li>Finally, I will conclude with a proposal to use create machines that create kinetic art machines.</li></ol>The other option is that I do research on a completely differently topic, which is AI for creating virtual kinetic machines. The other option is that I can change my topic to talk about evolutionary algorithms. The other thing I need to know is whether our proposal is feasible, i.e., training a neural network to output the correct set of parameters for Pat's drawing system, or using genetic algorithms to generate the system. ~ I downloaded this Processing library for <a href="http://www.shiffman.net/2006/11/10/multi-layered-neural-network/">creating a neural network</a> which comes with this <a href="http://www.shiffman.net/teaching/nature/nn/">super nifty neural network tutorial</a>. I also came across this <a href="http://www.alife.org/links.html">list of Artifical Life projects</a> and a great list of <a href="http://iaaa.nl/cursusAA&amp;AI/">algorithmic art</a>.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1448794144419372893?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-83596310168730674332010-02-28T22:50:00.001-08:002010-04-12T11:15:36.318-07:00I'm wondering. One of the problems in choreography is teaching the qualities of the movement. Well, ok, it's not really a problem, but I'm in grad school, so I have to look at things as if they were problems all the time. Anyway. I'm wondering if there's a way to teach movement qualities using visualization. For example, I can use all kinds of sensing systems to capture movement data. It's easy to teach movements through space (well, relatively easy). But I wonder if there's a way to use visualization to coach the dancers into embodying the internal qualities of the movement. I imagine abstract shapes as a way to prompt dancers... moving clouds, lines, dots.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-8359631016873067433?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-47514452043688028632010-02-28T22:31:00.000-08:002010-04-12T11:15:36.319-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_D0SLDcRRiX0/S4tgQG_jMPI/AAAAAAAAFd4/gcpaKGb28IA/s1600-h/schlemmer.GIF"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 156px;" src="http://1.bp.blogspot.com/_D0SLDcRRiX0/S4tgQG_jMPI/AAAAAAAAFd4/gcpaKGb28IA/s200/schlemmer.GIF" alt="" id="BLOGGER_PHOTO_ID_5443550404478710002" border="0" /></a>An interesting find tonight. <a href="http://dspace.mit.edu/handle/1721.1/28768">Amanda Parkes' 2004 MA thesis at MIT</a> (which I stumbled on while looking for examples of digital kinetic art, in the hopes of finding AI-powered systems that generate kinetic art) brought to my attention a system for "understanding and delineat[ing] ... human motion and gesture": <span style="font-style: italic;">Schlemmer sough to deconstruct the motion of the body in three-dimensional space by each gesture or motion being dissected into a unique "sphere of activity" to create the laws of motion of the human body in space. This serves to abstract the human body in what he refers to as a "technical organism" [Gropius 1961]. The technical organism can then be rationally defined by its relationship to the space around it, its environment, [sic] "The laws of cubical space are the invisible linear network of planimetric and stereometric relationships. This</span> <span style="font-style: italic;">mathematic corresponds to the inherent mathematic of the human body and creates its balance by means of movements, which by their very nature are determined mechanically and rationally." </span>I'm not sure how this approach compares with Laban's...<span style="font-style: italic;"> </span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4751445204368802863?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-56162217377341927792010-02-22T15:45:00.001-08:002010-04-12T11:16:16.974-07:00Why am I panicking over this whole hardware thing? I need to keep calm. Whew.... Ok, here are things I need to figure out. <ol><li>Do I need to <a href="http://funnel.cc/Hardware/FIO">solder the jumper</a> on the FIO board?</li><li>Do I need to buy an FTDI Basic Breakout module? The one that Greg gave me doesn't seem to match the FIO board. I think I'll get one from Lee's anyway. 'parently, I need to remove a jumper to make it into a 3.3V one. </li></ol>I left off reading Making Things Talk at page 20.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5616221737734192779?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-18822947557157376282010-02-16T15:49:00.001-08:002010-04-12T11:16:16.975-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_D0SLDcRRiX0/S3syr6J8Z9I/AAAAAAAAELs/o78VLh11IQA/s1600-h/0216001559.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="http://1.bp.blogspot.com/_D0SLDcRRiX0/S3syr6J8Z9I/AAAAAAAAELs/o78VLh11IQA/s200/0216001559.jpg" alt="" id="BLOGGER_PHOTO_ID_5438996704906733522" border="0" /></a>This is my first entry for the <a href="http://wiki.iat.sfu.ca/Laban_Effort_Research">Laban Effort research project</a>. Woohoo! The first thing I have to do is try to reproduce the sensor system that was used to recognize the Laban Effort qualities in moving bodies in <a href="http://www.ncsa.illinois.edu/News/09/0420Visitingartist.html">the 2010 restaging of Astral Convertible by Trisha Brown</a> at the University of Illinois at Urbana-Champaign. Norman Jaffe, Mary Pietrowicz, Thecla Schiphorst, and John Toenjes developed the system. Today, I got Greg to help me get started with getting started with the hardware that Norm had ordered from Sparkfun. I tried to pick up as much as I could of what he was talking about; most of the times he was working out things for himself by talking out loud. He said something about ASL, and the ST refreshing and sometimes sending a high voltage, and how D7 is constantly high. To get started I should: <ul><li>Start reading <a href="http://proxy.lib.sfu.ca/login?url=http://proquest.safaribooksonline.com.proxy.lib.sfu.ca/?uiCode=simonfraser&amp;xmlId=9780596510510">Making Things Talk</a>.</li><li>Attach an LED light do D13 and GND on the Funnel IO board and see if I can use the Arduino software to get it blink properly, to understand how to program the board </li><li>Attach the X, Y, and Z outputs of the 5DOF sensor to A0, A1, and A2 and start extracting data out of them (Greg warns me that it might take a coupe of weeks to work that one out) </li><li>Lastly, figure out the XBee receivers/transmitters (Nathan can help) </li></ul> What I need to do now is go to Lee's Electronics on Main Street and get a 4-pin horizontal header and a small <a href="http://hibp.ecse.rpi.edu/%7Econnor/education/breadboard.pdf">breadboard</a>. Working with hardware is like a learning a new language!<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1882294755715737628?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-78570162909342838922010-02-10T18:33:00.000-08:002010-02-10T18:40:25.937-08:00Here's what I'm going to see during the <a href="http://www.vancouver2010.com/more-2010-information/cultural-festivals-and-events/">2010 Cultural Olympiad in Vancouver</a>. <span style="background-color: rgb(136, 136, 14); color: rgb(255, 255, 255);"> </span><ul><li><span style="background-color: rgb(136, 136, 14); color: rgb(255, 255, 255);">Events in olive are gallery shows or repeating events</span></li><li><span style="background-color: rgb(171, 139, 0); color: rgb(255, 255, 255);">Events in mustard are one-off events</span></li></ul> <iframe src="https://www.google.com/calendar/embed?title=Art%2FCultural%20Olympiad%20Events%20I%27m%20going%20to%20see&amp;showTitle=0&amp;showPrint=0&amp;showTz=0&amp;mode=WEEK&amp;height=800&amp;wkst=1&amp;bgcolor=%23FFFFFF&amp;src=i2cm3sp73vchtnj1207pns48sc%40group.calendar.google.com&amp;color=%23AB8B00&amp;src=1at31u2eakh3euaac92i3hgc50%40group.calendar.google.com&amp;color=%2388880E&amp;ctz=America%2FLos_Angeles" style="border-width: 0pt;" frameborder="0" height="800" scrolling="no" width="800"></iframe><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7857016290934283892?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-75337481228731809442010-02-04T16:05:00.001-08:002010-02-04T16:06:19.048-08:00This came in my mailbox this morning from Avaaz. It's too bad the actually petition webpage doesn't have as many details as the email they sent out did. <blockquote>The final judgment is imminent after a long legal battle between <b>oil giant Chevron and brave indigenous peoples</b> of the Ecuadorian Amazon, who are seeking redress for the multinational’s <b>dumping of billions of gallons of toxic waste in the rainforest.</b>
 
If Chevron is forced to pay billions in damages, it’ll be a big step forward in bringing the world’s polluters to account. Staring defeat in the face, the oil giant has launched an <b>aggressive last-ditch lobbying campaign to derail the lawsuit. </b> But Chevron’s <b>newly-appointed CEO, John Watson, knows his corporation’s brand is under fire</b> and is growing anxious about the risks of a public shaming campaign -- so let’s turn up the heat! <b>Sign the petition</b> calling on Watson and Chevron to clean up their mess in Ecuador, and it will be delivered to them, their shareholders and the US media -- <b>click below to take action now:</b> <a href="https://secure.avaaz.org/en/chevron_toxic_legacy_2/?cl=467313343&amp;v=5330" target="_blank">https://secure.avaaz.org/en/<wbr>chevron_toxic_legacy_2/?vl</a> Over the years, civic action like this has helped to transform the policies of some of the world’s biggest corporations. But most <b>oil and gas multinationals spend hundreds of millions of dollars every year on lobbying and PR</b> to reshape climate and energy policies and deny their environmental and human rights duties -- and <b>Chevron is one of the biggest offenders</b>. From 1964 to 1990, <b>Chevron-owned Texaco deliberately dumped billions of gallons of toxic waste</b> from their oil fields in Ecuador's Amazon -- then pulled out without properly cleaning up the pollution they caused. Facing imminent defeat in the courts, Chevron has turned to legal machinations, powerful public relations firms and lobbyists to intimidate its critics into silence and avoid responsibility for the massive environmental and human disaster it has triggered. Chevron has repeatedly vowed to refuse to pay for a clean up even if ordered to by the court, saying “We will fight this until hell freezes over. And then we’ll fight it out on the ice.” Its latest strategy: <b>pushing the US government to bully Ecuador into burying the case</b>. We cannot sit back and watch Chevron make a mockery of justice like this -- <b>let´s build a critical mass of support</b> and help the rainforest inhabitants win this round, in the court of public opinion and before the law. <b>Click here to sign the petition and help deliver a deafening message personally to Chevron´s new chief executive John Watson</b>: <a href="https://secure.avaaz.org/en/chevron_toxic_legacy_2/?cl=467313343&amp;v=5330" target="_blank">https://secure.avaaz.org/en/<wbr>chevron_toxic_legacy_2/?vl</a> Citizens in Ecuador and around the world are joining efforts to <b>stand up to one of the biggest and dirtiest corporations in the world</b>. If we win, it’ll be another big step toward a future of corporate accountability, human rights and environmental protection. Let's add our voices and spread the word today! With hope and determination, Luis, Paula, Benjamin, Pascal, Paul, Alice, Ricken, Graziela and the whole Avaaz team PS - This campaign is part of a larger effort by Amazon Watch, Rainforest Action Network and other environmental and human rights allies worldwide. SOURCES: ChevronToxico, the website of Amazon Watch's Clean Up Ecuador Campaign, includes new video of affected Ecuadorians urging Chevron´s CEO to clean up oil pollution: <a href="http://chevrontoxico.com/" target="_blank">http://chevrontoxico.com/</a> Wall Street Journal, "Chevron Plaintiffs Ask U.S. Court for Action": <a href="http://online.wsj.com/article/SB10001424052748704363504575003153443151606.html" target="_blank">http://online.wsj.com/article/<wbr>SB1000142405274870436350457500<wbr>3153443151606.html</a> Politico, "Chevron's lobbying campaign backfires": <a href="http://www.politico.com/news/stories/1109/29560.html" target="_blank">http://www.politico.com/news/<wbr>stories/1109/29560.html</a> The Huffington Post, "Chevron and cultural genocide in Ecuador", <a href="http://www.huffingtonpost.com/kerry-kennedy/chevron-and-cultural-geno_b_346257.html" target="_blank">http://www.huffingtonpost.com/<wbr>kerry-kennedy/chevron-and-<wbr>cultural-geno_b_346257.html</a> Los Angeles Times, "Oil, Ecuador and its people": <a href="http://articles.latimes.com/2009/aug/28/opinion/ed-chevron28" target="_blank">http://articles.latimes.com/<wbr>2009/aug/28/opinion/ed-<wbr>chevron28 </a> "CRUDE. The Real Price of Oil"", Joe Berlinger´s award-winning documentary film that chronicles the epic battle to hold oil giant Chevron accountable for its systematic contamination of the Ecuadorian - official website: <a href="http://www.crudethemovie.com/" target="_blank">http://www.crudethemovie.com/ </a> </blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7533748122873180944?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-53914456063413651802010-01-25T17:26:00.001-08:002010-01-25T17:28:01.944-08:00Discovered this very neat tool through <a href="http://www.angelovermeulen.net">Angelo Vermeulen</a>. <div><iframe src="http://linoit.com/users/nudeagain/canvases/IAT%20801%3A%20Research%20Goals?inner=1" style="border: 1px solid black; width: 640px; height: 480px;" frameborder="0" scrolling="no"></iframe></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5391445606341365180?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-44771660469225661452010-01-02T05:32:00.000-08:002010-01-02T05:36:54.784-08:00Received this in my inbox today. <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_D0SLDcRRiX0/Sz9Lsv-36fI/AAAAAAAADm8/TeR5Kn2D1XY/s1600-h/invite_finale010.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 263px; height: 400px;" src="http://3.bp.blogspot.com/_D0SLDcRRiX0/Sz9Lsv-36fI/AAAAAAAADm8/TeR5Kn2D1XY/s400/invite_finale010.jpg" alt="" id="BLOGGER_PHOTO_ID_5422135708543871474" border="0" /></a><span style="font-style: italic;">Finale's 2010 opening show featuring Jayson Oliveria at the Tall Galleries </span><span style="font-style: italic;">36 works in all, amazing!</span> <span style="font-style: italic;"> no text to frame the show!</span> <span style="font-style: italic;"> unimpeded viewing for your utmost visual pleasure!</span> <span style="font-style: italic;"> see y'all at the opening on January 8 Friday at 6:30 PM</span> <span style="font-style: italic;"> exhibit is on view till February 1st.</span> <span style="font-style: italic;"> Finale Art File</span> <span style="font-style: italic;"> warehouse 17 La Fuerza Plaza Pasong Tamo Makati City</span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4477166046922566145?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-26192344558265873922009-11-27T09:56:00.000-08:002009-11-27T10:08:09.354-08:00Forgive all the spelling errors. <blockquote>Hi Alana, I bumped into Catherine Anderson at a party several weeks ago and asked how you were doing. I heard that you're dancing lots. :) Maybe coffee would be a better format for this, but a quick rundown: I've been involved in things in the intersection with art (not just dance) and science. I started my MSc in Interactive Art and Tech at SFU Surrey. I'm starting some research work in January on how people extract meaning from abstract motion, working with some profs here. I'm building from Ai Nakatami's work: <a href="http://www.siat.sfu.ca/grad/theses/anakatani">www.siat.sfu.ca/grad/theses/anakatani</a>. I'll be revisiting Laban for this. I don't know the entire scope of the project since I'm only one part of the project, but it's safe to say that there's going to be some computer modelling and some artificial intelligence involved. The most major thing I've just done is this: <a href="http://www.biomodd.net">www.biomodd.net</a>. It's a large scale, collaboratively-built installation combining video gaming, plant ecology, environmental sensing, and social dynamics. I collaborated with a Belgian artist and scientist, Angelo Vermeulen, on this, along with a team of about 50 people, built over a period of 8 months in the Philippines. It was a major undertaking, but it's still spinning off. I'm also generally very interested in the realm of knowledge visualization, which takes as its problematique (to borrow a term) the creation of information from data, and knowledge from information, using visual tools. SFU Surrey is providing me good opportunities to explore niche (odd, really) areas. There are a few dance/science things that I've seen that were interesting, but none that really caught my attention. Dance/tech, on the other hand... there's been a fair bit on that over the years. Have you seen Chunky Move's "Glow"? Or William Forsythe's "Synchronous Objects" (which is a great example of information visualization)? If you want to take "science" in a broader perspective, consider the social sciences (nevermind how problematic the term is) of anthropology and psychology. I've been seeing a lot more conceptual art come up lately, manipulating audiences, tricking them, that at first offended me, then later on I became intrigued. And of course film, video, and the Web are interesting avenues and provide interesting tools, but there's also a lot of mediocre work. Dance/science... well. I think that by exploring other languages of the moving body (which I suppose forms the basis of dance), you can evoke science indirectly. By finding new kinds of bodies to work with, you push certain boundaries. I have this image in my head of a ten bodies all smooshed up and rolling like a ball, like an amoeba, like a gigantic ball of worms, breaking apart and reforming. It could be turned into a film in order to control some of the timing and pacing through editing. I have an image of a stage full of bodies doing infinitesimally small movements. This is where technology can come in: in a time of scarcity, replicate the effect of an entire corps de ballet, digitally. There is this dancer from Indonesia that does this incredible dance where his body is so full of tension, so taught, so painful to watch, that you can't stop watching him. Have you heard of Stelarc? Completely fucked up, but very interesting: <a href="http://www.stelarc.va.com.au">www.stelarc.va.com.au</a>. He did something which I wish a dancer had thought up of: he attached his body to devices that were controlled by other people, over the Web, I think. The relationship could also go the other way around. Instead of science serving dance, dance could serve science, again looking at dance as the phenomenon of moving bodies. For example, it's almost probably certain that people have moved differently---used their bodies differently---throughout history. Actors work with this in their character work, but I don't know how certain it is that they achieve "accurate" results, especially with people or peoples long dead. Nijinsky tried to do this with Prelude to an Afternoon of a Faun based on the static images, but what does that actually tell us about the past? "The past is a foreign country," writes L. P. Hartley. Another thing: can people use their inner insight about the body to reconstruct our evolutionary history? What must it be like to have a tail? How would not having an opposable thumb feel like, and how it would alter emotions, the physical vocabulary, behavior in general? Can this data---this inner-sensed data---help evolutionary biologists reconstruct the past? What would probably be useful is a rigorous typological examination of some of the terms I've been throwing around, like "science", "technology", "dance", "movement", "body", breaking them into component ideas and seeing how these components can recombine to generate something new... which is something that is a somewhat modern obsession---the new, that is. Anyway, some thoughts. :) Hope this finds you well! Diego PS: Why stop at ten bodies? Why not a hundred? A thousand? :) </blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2619234455826587392?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-46956595366951606922009-10-26T18:54:00.000-07:002009-10-26T19:00:20.463-07:00<div class="post clearfix " id="post58169"><div id="post_data58169" class="post_data clearfix">I'm part of Facebook group called <a href="http://www.facebook.com/group.php?gid=2228971140">Every time humanities interprets quantum physics, a fairy loses its wings</a>. There's a lot of hubris in the group, so much so that when one of its members posted the following series quotes from physicists and other scientists, he had to insert a disclaimer: "Don't get upset by this, goodly people. I am just humbly trying to suggest that its not just 'liberal arts people' who speculate on these matters! There are a number of Nobel Prize Winners here and the others are eminent scientists in their own right!" <blockquote>"Until not many years ago, the 'existence' of a mind or soul would have been passionately denied by most physical scientists. The brilliant successes of mechanistic and, more generally, macroscopic physics and of chemistry overshadowed the obvious fact that thoughts, desires, and emotions are not made of matter, and it was universally accepted among physical scientists that there is nothing besides matter. The epitome of this belief was the conviction that, if we knew the positions and velocities of all atoms at one instant of time, we could compute the fate of the universe for all future. Even today, there are adherents to this view, though fewer among the physicists than - ironically enough - among biochemists. <div class="post_body"><div class="post_message"> There are several reasons for the return, on the part of most physical scientists, to the spirit of Descartes's 'Cogito Ergo Sum', which recognises the thought, that is the mind, as primary. First, the brilliant successes of mechanics not only faded into the past; they were also recognised as partial successes, relating to a narrow range of phenomena, all in the macroscopic domain. When the province of physical theory was extended to encompass microscopic phenomena, through the creation of quantum mechanics, the concept of consciousness came to the fore again: it was not possible to formulate the laws of quantum mechanics in a fully consistent way without reference to consciousness. All that quantum mechanics purports to provide are probability connections between subsequent impressions (also called 'appeceptions') of the consciousness, and even though the dividing line between the observer, whose consciousness is being affected, and the observed physical object can be shifted towards the one or the other to a considerable degree, it cannot be eliminated. It may be premature to believe that the present philosophy of quantum mechanics will remain a permanent feature of future physical theories; it will remain remarkable, in whatever way future concepts develop, that the very study of the external world led to the conclusion that the content of the consciousness is an ultimate reality." </div></div><div class="post_body"><div class="post_message"></div></div></blockquote><div class="post_body"><div class="post_message"> - Remarks On The Mind-Body Question, 1962 From SYMMETRIES AND REFLECTIONS by Eugene P Wigner (Nobel Prize Winner) ISBN 0918024161</div></div> </div></div><div class="post clearfix " id="post58170"><div id="post_data58170" class="post_data clearfix"><div class="post_body"><div class="post_message"><blockquote>"The limitation of consciousness in space and time is such an overwhelming reality that every occasion when this fundamental truth is broken must rank as an event of the highest theoretical significance, for it would prove that the space-time barrier can be annulled. The annulling factor would then be the psyche, since space-time would attach to it at most as a relative and conditioned quality. Under certain conditions it [the psyche; RFR] could even break through the barriers of space and time precisely because of a quality essential to it, that is, its relatively trans-spatial and trans-temporal nature. This possible transcendence of space-time, for which it seems to me there is a good deal of evidence, is of such incalculable import that it should spur the spirit of research to the greatest effort. Our present development of consciousness is, however, so backward that in general we still lack the scientific and intellectual equipment for adequately evaluating the facts of telepathy so far as they have bearing on the nature of the psyche. I have referred to this group of phenomena merely in order to point out that the psyche’s attachment to the brain, i.e., its space-time limitation, is no longer as self-evident and incontrovertible as we have hitherto been led to believe." </blockquote>- Letter to Jung by Wolfgang Pauli, Quantum Scientist &amp; colleague of Heisenberg and Bohr </div></div></div></div><div class="post clearfix " id="post58172"><div id="post_data58172" class="post_data clearfix"><div class="post_body"><div class="post_message"><blockquote>"The world is a construct of our sensations, perceptions, memories. It is convenient to regard it as existing objectively on its own. But it certainly does not become manifest by its mere existence. Its becoming manifest is conditional on very special goings-on in very special parts of this very world, namely on certain events that happen in a brain. That is an inordinately peculiar kind of implication, which prompts the question: What particular properties distinguish these brain processes and enable them to produce the manifestation? Can we guess which material processes have this power, which not? Or simple: What kind of material process is directly associated with consciousness? A rationalist may be inclined to deal curtly with this question, roughly as follows. From our own experience, and as regards the higher animals from analogy, consciousness is linked up with certain kinds of events in organised, living matter, namely, with certain nervous functions. How far back or 'down' in the animal kingdom there is still some sort of consciousness, and what it may be like in its early stages, are gratuitous speculations, questions that cannot be answered and which ought to be left to idle dreamers. It is still more gratuitous to indulge in thoughts about whether perhaps other events as well, events in inorganic matter, let alone material events, are in some way or other associated with consciousness. All this is pure fantasy, as irrefutable as it is unprovable, and thus of no value for knowledge. He who accepts this brushing aside of the question ought to told what an uncanny gap he thereby allows to remain in his picture of the world. For the turning- up of nerve cells and brains within certain strains of organisms is a very special event whose meaning and significance is quite well understood. It is a special kind of mechanism by which the individual responds to alternative situations by accordingly alternating behaviour, a mechanism for adaptation to a changing surrounding. It is the most elaborate and the most ingenious among all such mechanisms, and wherever it turns up it rapidly gains a dominating role. However, it is not sui generis. Large groups of organisms, in particular the plants, achieve very similar performances in an entirely different fashion. Are we prepared to believe that this very special turn in the development of the higher animals, a turn that might after all have failed to appear, was a necessary condition for the world to flash up to itself in the light of consciousness? Would it otherwise have remained a play before empty benches, not existing for anybody, thus quite properly speaking not existing? This would seem to me the bankruptcy of a world picture. The urge to find a way out of this impasse ought not to be dumped for fear of incurring the wise rationalists mockery. According to Spinoza every particular thing or being is a modification of the infinite substance ie of God. It expresses itself by each of its attributes, in particular that of extension and that of thought. The first is its bodily existence in space and time, the second is - in the case of a living man or animal - his mind. But to Spinoza any inanimate bodily thing is at the same time also 'a thought of God'. We encounter here the bold thought of universal animation, though not for the first time, not even in Western philosophy. Two thousand years earlier the Ionian philosophers acquired from it the name of hylozoists. After Spinoza the genius of Gustav Theodor Fechner did not shy at attributing a soul to a plant, to the earth as a celestial body, to the planetary system, etc. I do not fall in with these fantasies, yet I should not like to have to pass judgement as to who has come nearer to the deepest truth, Fechner or the bankrupts of rationalism." </blockquote>- from WHAT IS LIFE? &amp; MIND AND MATTER by Erwin Schroedinger, Nobel Prizewinner. (ISBN 9780521427081)</div></div> </div></div><div class="post clearfix " id="post58173"><div id="post_data58173" class="post_data clearfix"><div class="post_body"><div class="post_message"><blockquote>"We have shown in some detail that matter as a whole can be understood in terms of the notion that the implicate order is the immediate and primary actuality, while the explicate order can be derived as a particular, distinguished case of the implicate order. The question that arises here, then, is that of whether or not the actual 'substance' of consciousness can be understood in terms of the notion that the implicate order is also its primary and immediate actuality. If matter and consciousness could in this way be understood together, in terms of the same general notion of order, the way wold be opened to comprehending their relationship on the basis of some common ground. Thus we could come to the germ of a new notion of unbroken wholeness, in which consciousness is no longer to be fundamentally separated from matter." </blockquote> - WHOLENESS AND THE IMPLICATE ORDER by David Bohm</div></div> </div></div><div class="post clearfix " id="post58174"><div id="post_data58174" class="post_data clearfix"><div class="post_body"><div class="post_message"><blockquote>"We have busied ourselves with the processes by which the electric particles widely diffused in primeval chaos have come together to build the complexity of a human being; we cannot but acknowledge that a human being involves also something incommensurable with the kind of entities we have been treating of. I do not mean to say that consciousness has not undergone evolution; presumably its rudiments exist far down on the scale of animal life. But it is constituent or an aspect of reality which our survey of the material world leaves on one side. Hence arises insistently the problem of the dualism of spirit and matter. On the one side there is consciousness stirring with activity of thought and sensation; on the other side there is a material brain, a maelstrom of scurrying atoms and electric charges. Incommensurable was they are, there is some kind of overlap or contact between them. As the mind is traversed by a certain thought the atoms at some point of the brain range themselves so as to start a material impulse transmitting the mental command to a muscle; or again a nervous impulse arrives from the outer world, and as the atoms of a brain-cell move in response to the physical forces simultaneously a sensation of pain occurs in the mind. Let us for a moment consider the most crudely materialistic view of this connection. It would be that the dance of atoms in the brain really constitutes the thought, that in our search for reality we should replace the thinking mind by a system of physical objects and forces, and that by so doing we strip away an illusory part of our experience and reveal the essential truth which it so strangely disguises. I do not know whether this view is still held to any extent in scientific circles, but I think it may be said that it is entirely out of keeping with recent changes of thought to the fundamental principles of physics. Its attractiveness belonged to a time when it was considered that the way to understand or explain a scientific phenomenon was to make a concrete mechanical model of it." </blockquote>- SCIENCE AND THE UNSEEN by Arthur Stanley Eddington ISBN 0901689815</div></div></div></div><blockquote><div class="post clearfix " id="post58174"><div id="post_data58174" class="post_data clearfix"> </div></div><div class="post clearfix " id="post58175"><div id="post_data58175" class="post_data clearfix"><div class="post_body"><div class="post_message">"In comparing the certainty of things spiritual and things temporal, let us not forget this - MInd is the first and most direct thing in experience; all else is remote inference." </div></div></div></div></blockquote><div class="post clearfix " id="post58175"><div id="post_data58175" class="post_data clearfix"><div class="post_body"><div class="post_message"> - Arthur Stanley Eddington <blockquote>"The reason why our sentient, percipient and thinking ego is met nowhere within our scientific world picture can easily be indicated in seven words: because it is itself that world picture. It is identical with the whole and therefore cannot be contained in it as a part of it." </blockquote>- Erwin Schroedinger </div></div> </div></div><div class="post clearfix " id="post58176"><div id="post_data58176" class="post_data clearfix"> </div></div><div class="post clearfix " id="post58179"><div id="post_data58179" class="post_data clearfix"><div class="post_body"><div class="post_message"><blockquote>"Reality is merely an illusion, albeit a very persistent one." </blockquote>-Albert Einstein</div></div> </div></div><div class="post_body"><div class="post_message"><blockquote>“All matter originates and exists only by virtue of a force... We must assume behind this force the existence of a conscious and intelligent Mind. This Mind is the matrix of all matter.” </blockquote>- Planck <blockquote>“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are a part of the mystery that we are trying to solve.” </blockquote>- Planck <blockquote>"As a man who has devoted his whole life to the most clear headed science, to the study of matter, I can tell you as a result of my research about atoms this much: There is no matter as such. All matter originates and exists only by virtue of a force which brings the particle of an atom to vibration and holds this most minute solar system of the atom together. We must assume behind this force the existence of a conscious and intelligent mind. This mind is the matrix of all matter." </blockquote>- Planck <blockquote>"I regard consciousness as fundamental. I regard matter as derivative from consciousness. We cannot get behind consciousness. Everything that we talk about, everything that we regard as existing, postulates consciousness." </blockquote>- Planck</div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4695659536695160692?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com1tag:blogger.com,1999:blog-1889203898195415200.post-70439397930450138082009-10-24T20:33:00.001-07:002009-10-24T20:33:23.714-07:00<iframe marginheight="0" marginwidth="0" src="http://maps.google.com/maps/sv?cbp=12,331.41,,1,5&amp;cbll=49.216312,-122.914503&amp;panoid=&amp;v=1&amp;hl=en&amp;gl=" frameborder="0" height="240" scrolling="no" width="425"></iframe> <small>View <a href="http://maps.google.com/maps/ms?ie=UTF8&amp;hl=en&amp;msa=0&amp;msid=117805865511056476734.000469dcceaa13bafca11&amp;ll=49.262876,-123.136826&amp;spn=0.167912,0.34548&amp;layer=c&amp;cbll=49.216312,-122.914503&amp;panoid=PXufQ4GUDfmN6LsGokKuJg&amp;cbp=12,331.41,,1,5&amp;source=embed" style="color: rgb(0, 0, 255); text-align: left;">Vancouver</a> in a larger map</small><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7043939793045013808?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-31629576037889139232009-09-26T22:57:00.000-07:002009-09-27T18:40:40.117-07:00Here's my new plan: <blockquote><ol><li style="font-weight: bold;">Course ramp-up: Strategizing</li><ol><li>Understand the rationale behind the proposed syllabus (1 hour) </li><li>Go through a lightning round of suggested readings (4 hours)</li><li>Look for other and more current readings (4 hours)</li><li>Do a lightning round and look for the most commonly-cited references (8 hours)</li><li>Compile initial list of readings (4 hours) </li><li>Fill out course design and assessment matrix (3 hours)</li><li>Course scheduling (2 hours)</li></ol><li style="font-weight: bold;">Course writing</li><ol><li>Module level</li><ol><li>Make the module assessment activities (3 hours x # of modules)</li><li>Make the module objectives (1 hour x # of modules)</li><li>Make the module readings (1 hours x # of modules)</li><li>Make the module tutor/marker’s guide (4 hours x # of modules)</li></ol><li>Unit level</li><ol><li>Summarize the unit objectives (1 hour x # of units)</li><li>Summarize the unit content (1 hour x # of units)</li></ol><li>Setting up cross-unit/cross-module things</li><ol><li>Set up introductory unit (2 hours)</li><li>Set up Moodle (3 hours)</li><li>Draft final course assessment materials (2)</li></ol><li>Quality control</li><ol><li>Submit course for review and wait for feedback (15 hours)</li><li>Revise course based on quality control feedback as needed (6 hours)</li></ol></ol><li style="font-weight: bold;">Course offering</li><ol><li>Deploy course (2 hours) </li><li>Continuously follow up discussion forums (1 hour per student over the duration of the course)</li><li>Continuously respond to student concerns (1 hour per student over the duration of the course)</li><li>Mark module-based assessment activities (0.25 hours per student per activity)</li><li>Discuss student performance in module activities (1.5 hours per student)</li><li>Deploy midterm (2 hour)</li><li>Deploy final exam (2 hours) </li><li>Mark final exam (0.5 hours per student)</li><li>Discuss student performance in final exam (0.5 hours per </li><li>Disseminate course evaluation forms (1 hour) </li></ol><li style="font-weight: bold;">Course ramp-down: Evaluation and Revision </li><ol><li>Consolidate and write-up course evaluation feedback (3 hours)</li><li>Re-write course according to reflections, feedback, etc. (6-15 hours)</li><li>Put together resubmitted course package: Original course description, Course strategizing materials, Course teaching materials, Course assessment materials, Course evaluation and recommendations (2 hours)</li><li>Submit grades (2 hours) </li></ol></ol></blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-3162957603788913923?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-42593704533331464492009-09-20T03:29:00.000-07:002009-09-20T11:23:00.524-07:00<span style="font-style: italic;">Saltz, D. Z. (1997). The art of interaction: Interactivity, performativity, and computers. Journal of Aesthetics and Art Criticism, 117–127.</span> <table cellpading="0" cellspacing="0" width="100%"><tbody><tr><td><span class="spanShortText">A brief summary of what I got out of Saltz's article so far and two responses.</span></td></tr><tr><td class="tdGap"> </td></tr></tbody></table>Saltz's argues that the interaction between a computer and its users does not necessarily constitute performance, unless the users see themselves and their interaction with the computer. They would have to be simultaneously interacting, watching themselves interacting, and then assessing all that they see the same way a audience member would when watching a traditional performance. Two sections in the essay caught my attention. <b> Section 1:</b> <div style="margin-left: 40px;">"For example, the computer might instruct a synthesizer to produce musical notes in response to input from a keyboard; it might start a motor when someone moves in front of an ultrasound sensor; it might change a light's intensity in proportion to the volume of sound picked up by a microphone, and the light's color in proportion to the sound's pitch. The computer might use any kind of real-world input to produce any kind of real-world output, since in any case all that the computer is manipulating is digital information. "One might argue that the above definition of computer interactivity in itself settles the question of whether interactive computer art is a performing art. By definition, all interactive computer artworks engage at least one human participant in the live performance of a series of actions. Live performance is precisely the element that characterizes the performing arts. Does it follow, then, that interactive computer art is by definition a performing art? "Unfortunately, the problem is not that simple. To say that one cannot experience an interactive computer artwork in the absence of live human activity is not necessarily to say that this activity constitutes a performance. After all, one could say that an encounter with an artwork of any kind is a "performance" in that very generous sense. Reading books, watching films, and attending art exhibits are complex activities that transpire in real-time and involve living human beings. Books do not leap off bookshelves, open their bindings, and read themselves, nor do videotapes pop themselves into video cassette recorders and watch themselves."</div> Saltz seems to gloss over a critical point. Books indeed do not leap off bookshelves and read themselves... but computers could, in a manner of speaking. They could easily record their own output, repurpose the output as input in novel ways, and generally generate unpredictable behavior of all sorts. Computers can even shut themselves off! That is to say, what is missing in Saltz's analysis here---and indeed throughout most of the article---is the idea that computers could be seen to possess, to a limited but not insignificant degree, both reflexivity and unpredictability, which then sets them apart from books and videotapes. It is not the human audience interacting with the computer that generates the live performance. The computer itself is the live performer. Saltz himself alludes to this possiblity with his use of personifying verbs: the computer "instructs" a synthesizer and "uses" real-world input. The unstated assumption in this essay seems to be that while humans can perform, machines (and other inanimate objects) cannot. They merely facilitate the creation of events, actions, and interactions. If we problematize this assumption, the discussion would change significantly. <b> Section 2</b> The other passage that I found troubling is used in his argument that interactive computer art cannot be seen as performance because it does not generate a performance "token" (or in the language of object-oriented programming, "instance") unlike traditional forms such as theatre and dance: <div style="margin-left: 40px;"> "There is, however, a crucial difference between the role that performance plays in works of interactive computer art and in the performing arts. In nearly all Western performing art forms, and many non-Western ones, performers perform works. Actors perform plays; musicians perform music; dancers perform dances; Shamans perform rituals. The work (play, musical composition, dance, ritual) is a direct object. It is what the performer does. In "doing the work," the performer brings an instance of the work into the world. The work is a type, and its performance is a token of the type."</div> I cannot help feel that this either a bit of linguistic sleight of hand or an unintended demonstration of the English language's propensity to noun-ify. In Tagalog, for example, actors play, musicians sing or play an instrument, shamans heal. (Tagalog doesn't have a word for ritual, which is a fact that could be the start of an other discussion altogether.) One can dance (sasayaw) or play a role on stage (dudula); and one can talk about dancing dance (sasayaw ng sayaw) or acting in a play (gaganap sa dula). But there is no single indigenous word for "performance" that can be used in conjunction with a direct object-ified version of dancing, singing, acting, playing, or healing. This criticism isn't a big deal, really. It doesn't do much to deflate Saltz's argument, which is that IF we regarded works as types and performances as tokens, then we would be hard-pressed to find analogies between interactive computer art and traditional performance forms. Ugh, it's late. Off to bed for now... :P<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4259370453333146449?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-42156451594744591692009-09-16T23:55:00.000-07:002009-09-17T00:03:01.986-07:00This landed in my inbox today <blockquote>Dear Asian culture organizations, This is Margaret from the Bamboo Curtain Studio. I know we are all working hard in our own ways small efforts in reaching out to artists across the field, across the border too. Please see the attachments and also the following e mail from the Gyeonggi Creation Center / Gyeonggi Museum of Modern Art Korea, one of the newest culture organization with great space and capabilities for residency programs. They will have an official opening with a conference of residency directors from Res Artis, the global network for residencies. Gyeonggi center wishes to collect as much information as possible from our Asian NGOs that is doing residential exchanges, and thus seek future collaborating opportunities with you all. I am aware that most of us do not have a full fledged residency program as such, (in our studio's fourteen years of culture efforts only the last two years have I built up space for three such residential units.) But we have all done some sort of residency project based for special events. These are the data we wish to show, action that is 'maybe under the radar screen'. Our efforts should be recognized, small as it may be , that there is an undercurrent going on in Asia too, though we cannot compare with the major residential programs as in US and Europe. We have connected with each other in the last several years, but we really do not have funds to do further than random e mail up dates to each other. Thus, We wish that you will let us know who, where, how and what of exchanges, face to face with artists in your region. Hope you will consider going to this event in Korea, and also to network with others from all over the world. If not, at least let us have your relevant information of your past exchange efforts/projects, and we will post these up for the conference and on relevant websites for future networking. Asian exchanges need more support and structures, hopefully this meeting in Korea will be another great chance to do that to stretch the importance of alternative residencies and exchanges. If you have any questions please seek out Sara Oh from the Gyeonggi Creation Center, or me, on this call for Data and meeting of face to face in Korea. Sincerely Margaret Shiu Bamboo Culture International Bamboo Curtain Studio</blockquote>Attachments here: [<a href="http://www.plunder.com/-download-5c50e5a596.htm">1</a>][<a href="http://www.plunder.com/-download-b54469fb15.htm">2</a>]<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4215645159474459169?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-23552895045457232332009-09-15T23:39:00.000-07:002009-09-29T00:19:43.976-07:00<p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Badviz.big.png" class="image" title="Badviz.big.png"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/7/78/Badviz.big.png/600px-Badviz.big.png" border="0" height="395" width="600" /></a> </p> <a name="Background"></a><h3><span class="editsection"></span> <span class="mw-headline">Background </span></h3> <p>This is from the July/August 2009 issue of Report on Business, a Globe and Mail magazine. The most glaring shortcoming of this visualization is it fails in what I think is its essential goal, which is to visually support the thesis that large mergers do not always succeed. </p> <a name="Analysis"></a><h3><span class="editsection"></span> <span class="mw-headline">Analysis </span></h3> <p>It may be unfair to subject this piece to the kind of analysis I'm about to give, because it probably is meant more to be cheeky and visually provocative than to, well, convey information in a clear and concise manner as possible. That said, this visualization fails to contribute to an understanding of the thesis for two major reasons: </p> <ul><li>Although it is clear that readers are supposed use the circular (or circle-like) elements to compare the the sizes of the deals, any comparisons we make are bound to be rough at best because the circular elements are not all the same shape. They even differ in their implied dimensionality. Readers are therefore left with the difficult task of comparing neat solid circles (2D) with Gouraud-shaded spheres (3D), asymmetrical crayon scribblings (arguably not quite 2D), and a pile of dried tobacco (I'm not even sure how many dimensions that is). </li><li>Even if you grant that the images provide a reasonable visual indication for the size of the merger, this piece fails to provide a visual indicator for the degree of success (though I'm not sure what relevant statistic could have been used to indicate this, which is an important point I will touch on soon.) Instead, that information is locked entirely in the text. </li></ul> <p>There are other problems: </p> <ul><li>Some of the circular elements obscure other circular elements. </li><li>The two largest circular elements are truncated. </li><li>The colors of the abstract circular elements don't really mean anything. </li><li>The elements are arranged on the page chronologically along the horizontal axis, but that fact strikes us as somewhat as a surprise. After all, chronology does not appear to be relevant to the narrative goal of this piece. A related point: highlighting the year with yellow is unnecessary. The highlight might be justifiable if the year didn't always appear in the same place. </li><li>It's not clear whether the dollar figures have been adjusted for inflation. </li></ul> <p>Finally, there seems to be a significant problem about this visualization that I cannot put my finger on. To paraphrase Tolstoy, every successful merger gives similar results, but every failed merger seems to be unsuccessful in its own way... and this author appears to be trying to tell a story of those different failures. The relevant data that need to be compared might be of different types, and it's not clear if there is an effective way to do this visually. (Maybe creating a single weighted measure of success based on more quantifiable indicators would work, but if composed without care, this measure might come across as contrived.) </p><p>To sum up: Visually, this piece doesn't help us understand the author's point about the rate of success of business mergers. It doesn't reveal any trends, any surprising results, any unusual statistical distributions, that might actually be present. However, it is worth considering that the story the author is trying to tell---about poor institutional judgment, about lost opportunities, about the fickleness of fortune---may not lend itself well to simple (or simplistic) visualization practices in the first place. </p> <a name="Source"></a><h3><span class="editsection"></span> <span class="mw-headline">Source </span></h3> <p>Erman, B. (2009). Deals of the Century. Report on Business, (July/August). </p> <a name="A_good_visualization"></a><h2><span class="editsection"></span><span class="mw-headline">A good visualization </span></h2> <p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Forsythe-Screenshot.PNG" class="image" title="Forsythe-Screenshot.PNG"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/4/44/Forsythe-Screenshot.PNG/400px-Forsythe-Screenshot.PNG" border="0" height="324" width="400" /></a> </p> <a name="Regarding_my_choice"></a><h3><span class="editsection"></span><span class="mw-headline">Regarding my choice </span></h3> <p>As Tera noted last week, there are no perfect visualizations; the quality of a piece of a visualization could be assessed under diverse sets of criteria. One criterion could be the degree to which it satisfies the needs of a visualization's user. The choice of this criterion, however, begs the task of precisely articulating who these users are, identifying their particular needs, and matching the visualization to their ability to process and make sense of the visual data presented. The best kinds of visualizations are those that precisely meet the needs of its users. Therefore, I chose a visualization that catered to a specific user group, since the utility of these visualizations can be easily analyzed, tested, and refined. </p><p>Let me restate what I understand constitutes a visualization. Visualizations create new knowledge by using images to showi and explain previously unknown information embedded in existing data. This undiscovered information could take the form of relationships between entities, statistical distributions, or absolute quantities. And while a good visualization creates interesting new knowledge from any kind of existing data, a very good illustration creates absolutely fascinating, undoubtedly novel knowledge based on commonly-accessible data that most taken people take for granted. </p> <a name="Background_2"></a><h3><span class="editsection"></span><span class="mw-headline">Background </span></h3> <p>The visualization I chose uncovers relationships, but these relationships do not exist in an abstract medium. The relationships are embedded in Cartesian space. Because we live in a largely Cartesian world (or at least are made to regard the reality we inhabit using Cartesian frames of reference), we take for granted that we know everything there is to know about space, or our bodies' relationship to space, which is perhaps why my example may be construed as mere <i>illustration</i> and "not really visualization". Dancers and architects take this assumption of familiarity with space as the central problematique of their practice, but so could visualization practitioners. </p><p>With all of this in mind, I'm going to go out on a limb here by choosing as my exemplary visualization a collection videos put together by choreographer William Forsythe for a multimedia CD-ROM called <i>Improvisational Technologies: Improvisational Technologies: A Tool for the Analytical Dance Eye</i>. Each video features Forsythe explaining a heuristic he has developed for generating movement based on the human body's relationship to space. These videos are accessible through links which are arranged in a hierarchical menu to side of the screen. Line drawings and images have been added in post production to illustrate hypothetical spatial constructions that Forsythe describes and uses. </p> <a name="Analysis_2"></a><h3><span class="editsection"></span><span class="mw-headline">Analysis </span></h3> <p>The best way to get a sense of these videos is to watch them. Other people have uploaded excerpts of the CD-ROM on YouTube: </p><p><a href="http://www.youtube.com/watch?v=a6ArVLU34Rg" class="external text" title="http://www.youtube.com/watch?v=a6ArVLU34Rg" rel="nofollow">Forsythe explaining planar U-ing and O-ing</a> </p><p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Forsythe-Uing.PNG" class="image" title="Forsythe-Uing.PNG"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/e/e3/Forsythe-Uing.PNG/300px-Forsythe-Uing.PNG" border="0" height="144" width="300" /></a> </p><p><a href="http://www.youtube.com/watch?v=47rZsMhcnS0" class="external text" title="http://www.youtube.com/watch?v=47rZsMhcnS0" rel="nofollow">Forsythe explaining line approaches</a> </p><p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Forsythe-Line-Approaches.PNG" class="image" title="Forsythe-Line-Approaches.PNG"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/a/a8/Forsythe-Line-Approaches.PNG/300px-Forsythe-Line-Approaches.PNG" border="0" height="106" width="300" /></a> </p><p><a href="http://www.youtube.com/watch?v=hH7yAZRdkFs" class="external text" title="http://www.youtube.com/watch?v=hH7yAZRdkFs" rel="nofollow">A dancer improvising using Forsythe's heuristics</a> </p><p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Forsythe-ReallyMcManus.PNG" class="image" title="Forsythe-ReallyMcManus.PNG"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/3/3d/Forsythe-ReallyMcManus.PNG/300px-Forsythe-ReallyMcManus.PNG" border="0" height="136" width="300" /></a> </p><p><a href="http://www.youtube.com/watch?v=wym1-b48NbY" class="external text" title="http://www.youtube.com/watch?v=wym1-b48NbY" rel="nofollow">Another dancer improvising using Forsythe's heuristics </a> </p><p><a href="https://wiki.sfu.ca/fall09/iat814g100/index.php/Image:Forsythe-McManus.PNG" class="image" title="Forsythe-McManus.PNG"><img alt="" src="https://wiki.sfu.ca/fall09/iat814g100/images/thumb/c/cb/Forsythe-McManus.PNG/300px-Forsythe-McManus.PNG" border="0" height="173" width="300" /></a> </p><p>Forsythe's videos are remarkable because they clearly answer a pressing question of many dancers: <i>How do Forsythe dancers manage to move the way the do?</i> Dancers who have watched a Forsythe dancer move are astonished at their facility. A colleague once remarked that there is something "three-dimensional" about the way the move, as if they were "eating up space". The videos demystify much (though not all) of the magic by annotating movement---i.e., supplementing human movement with visual information that lead to the discovery of new movement principles. Many of Forsythe's techniques rely on bending (quite literally) the rules of the body's relationship to space in classical ballet. For example, torsions and breaks in the traditional ballet "line" are encouraged, and these videos illustrate precisely where those lines occur and where they can broken. In a very literal sense, the videos render the invisible visible. </p><p>We are often not used to regarding body parts or the space around us as discrete entities, much less discrete, <i>information-laden</i> entities. But they certainly can be construed as such, the discussion of which is beyond the scope of this assignment. It suffices to say that the information uncovered from this dataset is the dynamic relationships of body parts to each other and to lines, planes, and volumes in space. The uncovered information can be used by dancers to generate a corpus of knowledge that allows them to make innovative, informed kinaesthetic decisions. </p><p>So if this isn't an example of a good piece of visualization, I will eat my shorts. </p><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2355289504545723233?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com1tag:blogger.com,1999:blog-1889203898195415200.post-13897955425849079622009-09-15T06:00:00.000-07:002009-09-15T06:20:49.943-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://imgs.xkcd.com/comics/extrapolating.png"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 461px; height: 295px;" src="http://imgs.xkcd.com/comics/extrapolating.png" alt="" border="0" /></a><a href="http://xkcd.com/605/">again, xkcd rocks. </a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://imgs.xkcd.com/comics/porn.png"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 740px; height: 214px;" src="http://imgs.xkcd.com/comics/porn.png" alt="" border="0" /></a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1389795542584907962?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-90679315286479667592009-09-15T02:01:00.001-07:002009-09-15T02:59:15.477-07:00I just had a very odd encounter while walking around my neighborhod at 1:45 in the morning. I wanted to go for a walk and a smoke. A car drives up to me and the driver asks me what I'm doing walking around at night. Apparently, it's "not cool" for me to be doing that at 1:45 am, and that neighborhood participates in block watch. On the one hand, it's nice for a neighborhood to be so proactive in taking care of each other. On the other hand, I am seriously disturbed by the fact that I cannot even walk around my own neighborhood without being regarded as a suspect.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-9067931528647966759?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com2tag:blogger.com,1999:blog-1889203898195415200.post-13592788815094760162009-09-13T18:10:00.000-07:002009-09-13T18:12:38.332-07:00<div>From one of my favorite online comics,<a href="http://www.xkcd.com/"> xkcd.com</a>.</div><div> </div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://imgs.xkcd.com/comics/tech_support_cheat_sheet.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 732px; height: 823px;" src="http://imgs.xkcd.com/comics/tech_support_cheat_sheet.png" border="0" alt="" /></a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1359278881509476016?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-79789489399313956732009-09-12T22:14:00.000-07:002009-09-15T00:03:36.112-07:00- on my way home from the New West Skytrain station this warm, sunny afternoon, I made many pleasant discoveries. <ul><li>A dollar store which stocked dried beans and fruits for a bargain;</li><li>A couple of pubs that looked good for a late-afternoon beer;</li><li>A small independent bakery that sold their own multigrain bread for a buck;</li><li>A comfy-looking jazz restaurant that has nightly music, a Filipino section in their menu, and a cute Pinoy waiter (although some of the <a href="http://www.dinehere.ca/restaurant.asp?r=2139">reviews</a> of the place aren't great)</li><li>An independent but kind of upscale-looking (read: I'd rather not shop there) grocery that carried Terra Breads </li><li>An Indian restaurant with a 10.95 lunch buffet</li><li>A local, independent grocery that carried a surprisingly wide variety of Filipino products (I was first alerted to this by the large package of Boy Bawang abandoned on a shelf on the dairy aisle)</li></ul>Also: <ul><li>Organic tofu can cost less than regular tofu</li><li><span style="font-style: italic;">Dahon ng sili </span><span>for sale</span> in the same grocery where you can get apple raisin carrot bread</li><li>A newly-wed couple and their entourage getting their photos taken by the water<span style="font-style: italic;"> </span></li><li>Locally-grown plums<span style="font-style: italic;"> </span>are in season</li><li>Green tea by the bulk at Galloway's: <span style="font-style: italic;">sobrang mura</span> </li><li><span style="font-style: italic;"></span>The ice cream shop that sells <a href="http://www.flickr.com/photos/waferboard/3700711301/">maple twists </a>also sells <a href="http://www.flickr.com/photos/waferboard/3701518886/">poutine</a></li></ul>My procrastination needs to be stopped. NOW. <div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_D0SLDcRRiX0/SqyDx13m7VI/AAAAAAAADFQ/mCJEDNv3Kgg/s1600-h/sixth.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 209px;" src="http://4.bp.blogspot.com/_D0SLDcRRiX0/SqyDx13m7VI/AAAAAAAADFQ/mCJEDNv3Kgg/s400/sixth.jpg" alt="" id="BLOGGER_PHOTO_ID_5380820547098045778" border="0" /></a><span style="font-size:78%;"><a href="http://www.flickr.com/photos/waferboard/3762182798/">CC-licensed photo by waferboard</a></span> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7978948939931395673?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-4664228909753644812009-09-12T02:10:00.000-07:002010-11-05T10:07:43.255-07:00<b>Update: </b>this post has moved to <a href="http://www.diegomaranan.com/content/?p=670">here</a>.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-466422890975364481?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-53249197445512184232009-09-10T02:52:00.000-07:002009-09-10T03:01:55.754-07:00Just remembered these three organizations: <ul><li><a href="http://tacticaltech.org/">Tactical Tech</a> is an international NGO helping human rights advocates use information, communications and digital technologies to maximise the impact of their advocacy work. We provide advocates with guides, tools, training and consultancy to help them develop the skills and tactics they need to increase the impact of their campaigning.</li><li><a href="http://www.icasc.ca/">The INTERNATIONAL CENTRE OF ART FOR SOCIAL CHANGE</a> is a global centre for networking, training, professional development, research and community outreach in the burgeoning field of art for social change. ICASC is also a hub where people working for progressive change in fields such as health, social justice and human rights, environmental education and community economic empowerment, can learn about the many ways that art for social change practices can be used as highly-effective tools in their work.</li><li><a href="http://cp-union.com/">The Computer Professionals' Union</a>. Intriguing that they talk about data viz. Curious to see what exactly they have in mind.</li></ul><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5324919744551218423?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-67179880524666728442009-09-08T12:37:00.000-07:002009-09-10T12:11:20.438-07:00My grad supervisor, Thecla Schiphorst, asked me to describe what I want to study at SIAT. I wrote back with the following: <blockquote>In general, my interest in art and technology is underscored by deepening my practice in teaching and mentorship. I am interested in returning to teaching historical and critical perspectives on the intersections of technology, science, and art, but using interactive, aesthetic, and narrative technologies in doing so. I would like to create learning environments in which learners suspend their disbelief and which (in a virtuous twist on the shock doctrine) use the moments of vulnerability to "make magic happen"... and I wish to do this using the simplest, cheapest, and most universally accessible tools possible. I am influenced by the work of Jenny Holzer, Vishal Rawlley (such as his interactive work, <a href="http://www.fondation-langlois.org/html/e/page.php?NumPage=2064">Legend of the Sea Lord</a>), Johnny Chung and his Wiimote hacks, Edward Tufte, and my friend and colleague Angelo Vermeulen.</blockquote>Earlier today, I met a grad student in the hallway who asked me what my research focus was. I was a bit flummoxed, partly because I could tell from his general aura that we didn't share the same kind of technical and critical background. I knew I had to come start coming up with an elevator pitch. Everyone has one, and I could tell from his fluent delivery of his project that he had rehearsed his. So here's my first pass at trying to describe what I do, which I write now if only for my benefit. First, a brain spill: <ul><li>installation art</li><li>online learning environments</li><li>the body</li><li>well-being</li><li>situated in the context of my previous work, which is open and distance learning for Filipinos </li><li>Filipinos: in diaspora, unstructured, creation of narratives and "imagined communities"</li><li>ICT4D</li><li>permaculture</li><li>ecological sustainbility </li></ul>Some projects I want to work on: <ul><li>An art installation based on knowledge visualization: using abstract moving images to enforce, supplement, and enrich a narrative</li><li>Developing an online PE course: teaching somatic techniques through online learning: developing learning materials, assessment mechanisms, teacher training; i.e., full course development guided by the current course development and pedagogical strategies being explored at UPOU; </li><li>Creating a visualization tool for Alexander Flor and Benjamin Flor's "comparative-static measure of environmental conflict resolution" </li></ul>In the past several months, I have been working on <ul><li>Teaching and developing courses for a bachelor of arts program in multimedia studies at UP Open University.</li><li>Co-leading (volunteer coordination, cultural go-between, institutional liaison, artistic adviser) Biomodd [LBA2], a collaborative art project that combines technology with biology</li><li>Advising non-stock, non-profit NGOs (WeDpro, CCLFI) on web and digital strategies to encourage organizational sustainability and support their mission and vision. </li></ul>Art Advocacy Pedagogy Whatever I do at SIAT... ... must contribute towards narrowing the digital divide ... must think about repurposing technology and appropriate ... must help people make cognitive (and possibly affective) leaps in order to reach previously well-defined learning goals<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6717988052466672844?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com2tag:blogger.com,1999:blog-1889203898195415200.post-44926868735363774462009-08-31T17:43:00.000-07:002009-08-31T17:46:18.190-07:00<div>I got this email this morning from the mailing list for the Canadian Association of Dance Artists. This is really quite bad.</div><blockquote>I am sending this email to the largest extended mailing list CADA/BC has. For those of you who live outside of BC, I hope you will consider lending your support to your fellow artists in BC as we fight to survive massive provincial Arts funding cuts ! The following 3 media links are coverage of the Arts funding cuts by: <div> </div><div>1. <a href="http://www.theprovince.com/news/Arts+groups+angry+government+slashes+funding/1945602/story.html">The Province newspaper</a></div><div>2. <a href="http://www.vancouversun.com/news/Arts+community+hobbled+last+minute+million+funding/1945251/story.html">The Vancouver Sun newspaper</a></div><div>3. <a href="http://www.plankmagazine.com/thots/kevin-files-where-oh-where-did-direct-access-bc-gaming-funding-go">Plank Magazine online Arts media site</a> Keep those letters coming Dance Community and Arts lovers!! We need every single, individual voice we can get! Here are the email addresses of BC MLA's that need to hear from you: Premier Gordon Campbell: gordon.campbell.mla@leg.bc.ca RIch Coleman: rich.coleman.mla@leg.bc.ca (BC Housing &amp; Social Development Minister - this is where BC Gaminig funding comes from) Kevin Krueger: kevin.krueger.mla@leg.bc.ca (Minister of Tourism, Culture and the Arts) Keep posted for Advocacy actions &amp; developments!!! Caroline Farquhar Chapter Administrator CADA/BC</div></blockquote><div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4492686873536377446?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-21629107325693810582009-08-29T09:02:00.000-07:002009-08-29T09:14:58.876-07:00In approximate sequence of consumption! <ol><li>An Americano</li><li>Two kinds of sprouts (one was alfalfa) and carrots</li><li>Righteousness type aging grape oil vinegar</li><li>Fragrant Cheng sauce (orange-y salad dressing)</li><li>Passionfruit</li><li>Healthy vinegar drink</li><li>White taro cake</li><li>Prawn tempura</li><li>Heart-shaped chicken nuggets</li><li>Deep fried sweet potato with caramelized sugar (aka kamote que)</li><li>Kangkong with crispy onions </li><li>Cold bbq pork of some kind</li><li>White snow sake</li><li>Salmon sashimi</li><li>Two kinds of tuna sashimi</li><li>Three kinds of hand-rolled cones (the one I had had alfalfa, bean curd, and mayo)</li><li>Beef rib with black pepper sauce</li><li>Cold soba noodles</li><li>Kimchi hotpot (super spicy)</li><li>Some kind of savory pancake</li><li>Pastry filled with some kind of cheese (brie?)</li><li>Vanilla honey chicken pomelo salad</li><li>Pumpkin potato salad</li><li>Clam soup</li><li>Cream of corn soup in a puff pastry shell</li><li>Fried rice with hibi</li><li>Green tea jelly</li><li>Jasmine green tea</li><li>Chocolate fondue tomato</li><li>Another americano</li></ol><div>If you can't see the slideshow below, go to </div><div><a href="http://picasaweb.google.com/dmaranan/KaohsiungBuffetDinnerAtParissWithJohnAndClaire">http://picasaweb.google.com/dmaranan/KaohsiungBuffetDinnerAtParissWithJohnAndClaire</a></div> <embed type="application/x-shockwave-flash" src="http://picasaweb.google.com/s/c/bin/slideshow.swf" width="288" height="192" flashvars="host=picasaweb.google.com&amp;captions=1&amp;hl=en_US&amp;feat=flashalbum&amp;RGB=0x000000&amp;feed=http%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Fdmaranan%2Falbumid%2F5375415663456544065%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2162910732569381058?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-47144279151181241222009-08-26T09:20:00.000-07:002009-08-26T09:31:39.564-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_D0SLDcRRiX0/SpViBCmlgoI/AAAAAAAAC_0/JRKnQj45oSM/s1600-h/tweet.GIF"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 37px;" src="http://1.bp.blogspot.com/_D0SLDcRRiX0/SpViBCmlgoI/AAAAAAAAC_0/JRKnQj45oSM/s200/tweet.GIF" alt="" id="BLOGGER_PHOTO_ID_5374309500354658946" border="0" /></a>Though community and interdependence plays a large role in most Philippine projects, the length of the list probably correlates more closely to the complexity of the project, the lack of a solid funding strategy, and lack of a detailed and realizable project plan. It could be argued that these merely constitute a "Filipino way of doing things", but it is more likely that there was simply a fundamental mismatch between the resources available for the project and the scope of the project. What might be more Filipino would be to satisfice at a very early point in the project by reducing the scope of the work. That is, we would have matched the output to the resources easily available. A popular Filipino saying sums it up well: "Kung maikli ang kumot, matutong mamaluktot." If the blanket is short, learn to curl up (instead of buying a longer blanket). Expanding a network is a double-edged sword, because as one's network of connections expands, so does one's network of potential obligations. That long list of sponsors can be also been as a long list of potential debts to be repaid---people and institutions may come knocking on our door at one point to demand that we return the favor. To extend the blanket metaphor, it's as if instead of curling up in a short blanket, we asked other people knit us a bigger blanket. They will remember that we asked for their help. The people left in Manila and Los Banos after Biomodd is over will be the ones most exposed to these implicit ties of obligation. Had we a simpler project, we would have had a shorter list.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4714427915118124122?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com1tag:blogger.com,1999:blog-1889203898195415200.post-81688740140826039502009-08-26T01:18:00.000-07:002009-08-26T06:54:17.049-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_D0SLDcRRiX0/SpUBTLfDw_I/AAAAAAAAC_c/9UcMb3P-oLo/s1600-h/Mae+Astrid+Tobias+-+2006+-+The+Hague.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="http://3.bp.blogspot.com/_D0SLDcRRiX0/SpUBTLfDw_I/AAAAAAAAC_c/9UcMb3P-oLo/s200/Mae+Astrid+Tobias+-+2006+-+The+Hague.JPG" alt="" id="BLOGGER_PHOTO_ID_5374203159348757490" border="0" /></a>Writer, puppeteer, social advocate, and dear friend Mae Astrid Tobias died last Sunday. She clearly touched the lives of many, many people; tributes to her (<a href="http://lovealibrarian.blogspot.com/2009/08/mae-astrid-tobias-1979-2009.html">1</a>, <a href="http://www.flickr.com/photos/wiverne/3856033199/">2</a>, <a href="http://philippinegenrestories.blogspot.com/2009/08/mae-astrid-tobias-1979-2009.html">3</a>, <a href="http://eatingthesun.blogspot.com/2009/08/mae-astrid-tobias-1979-2009.html">4</a>, <a href="http://panitikan.com.ph/newsarchive/monthly/august2009.htm#mae">5</a>) have started springing up all over the web. <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_D0SLDcRRiX0/SpU8IIxalMI/AAAAAAAAC_s/lDp1fSkIOr0/s1600-h/astridbw.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 150px;" src="http://2.bp.blogspot.com/_D0SLDcRRiX0/SpU8IIxalMI/AAAAAAAAC_s/lDp1fSkIOr0/s200/astridbw.jpg" alt="" id="BLOGGER_PHOTO_ID_5374267840827921602" border="0" /></a>The necrological service was held last night. <a href="http://www.panitikan.com.ph/authors/b/albonifacio.htm">Amelia Lapeña-Bonifacio</a> came with her daughter, granddaughter, and (other) members of <a href="http://www.mulat.org/">Teatrong Mulat</a>, the puppet group that Astrid had been part of. Astrid had picked the turtle to be her puppet---a choice that is both apt and surprising if you know what Astrid was like. That night, the puppet bid farewell to its master. In a devastatingly moving ritual, Tita Amel's granddaughter <span style="font-style: italic;font-size:85%;" >(can someone tell me her name?)</span> led a spoken tribute to Astrid, with a small chorus of adults echoing a response. Tita Amel's daughter <span style="font-size:85%;"><span style="font-style: italic;">(hers too)</span></span> led the puppet, who bowed solemnly to Astrid at the start and at the end of the ritual, each time accompanied by a gong beaten three times. <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_D0SLDcRRiX0/SpUBcD-BF0I/AAAAAAAAC_k/nxDDEMY4uGs/s1600-h/turtle.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 133px;" src="http://1.bp.blogspot.com/_D0SLDcRRiX0/SpUBcD-BF0I/AAAAAAAAC_k/nxDDEMY4uGs/s200/turtle.JPG" alt="" id="BLOGGER_PHOTO_ID_5374203311949944642" border="0" /></a>Even though a video recording would probably still fail to capture the emotional impact of the ritual, I still hope someone took some footage. The experience of watching of a 12-inch, wide-eyed turtle puppet bowing to a coffin just about destroyed me. Astrid, I miss you and think of you during the most random moments. At lunch, on the bus, while walking down the sreet. How your death will affect the lives of the people that you've left behind remains to be seen, but how your life has touched us profoundly is palpable to all. <span style="font-style: italic;font-size:85%;" >(Turtle puppet photo from <a href="http://www.mulat.org/?page_id=3">Teatrong Mulat's site</a>. Grayscale photo of Astrid's gorgeously sunny smile from <a href="http://panitikan.com.ph/newsarchive/monthly/august2009.htm#mae">Panitikan</a>)</span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-8168874014082603950?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-31813481196929852352009-08-14T08:12:00.001-07:002009-08-14T08:32:37.084-07:00I passed by the World Press Photo exhibition at the the Block at SM North. It's really one of the smartest things SM has done. It's an unexpectedly moving experience, right in the middle of the banality of the mall. I felt compelled to talk to the people standing next to me looking at whatever photograph I happened to be looking at, too. The scale of the exhibit is measured in the scope of its content, and it reminded me a bit of what Angelo Vermeulen has been trying to get at: the scale of a work of art determines to a large part the scale of the viewer's response. But in the case of photography, the scale is measured not necessarily by the physical dimensions of the photograph, but in the amount of meaning that is created in the interaction between the work and the audience. There was so much cognitive and affective content compressed into such a small amount of space... A surprisingly well-done piece of design at SM North: the newly-opened Sky Garden. I walked around it last night for the first time and I was shocked at how much I liked it.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-3181348119692985235?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-64002255674671061942009-08-03T05:13:00.001-07:002009-08-14T02:34:45.706-07:00<blockquote>It was my nanay's 58th birthday yesterday. Her friend had organized a lunch celebration on the rooftop of a modest condo building in Quezon City, surrounded by at least twenty of my parents' closest friends and colleagues from the various areas of political struggle in which they had engaged for most of her life. Some friends couldn't make it even if they wanted to; some could never have and, for that matter, never will. They have been my second family for as long as I can remember, and I love them as dearly as I do my first. There was wine, food, videoke, and gossip. Everyone was having a good time. I couldn't get enough of seeing my parents and their friends so animated, so in their element, particularly since it was going to be at least another two years before I would be around for either nanay or tatay's birthday. Then at the height of the party, I left. I had to go back to Los Banos to work on Biomodd. (We drop the [LBA2] part most of the time.) I wanted to stay (badly) but the thought of being away from the project for too long sent gently undulating waves of sheer panic washing over me. If asked to list every social commitment, every art exhibit opening, every conference that I've had to miss because of Biomodd, I would draw a blank because I stopped paying attention to many Things That Are Not Biomodd a long time ago. I live in constant dread of having to face the students I've neglected. I've stopped exercising, I took up smoking (heavily), and I eat mostly peanut butter and San Mig Light. For <span class="il">breakfast</span>. Producing Biomodd [LBA2] has been a gamble of the highest magnitude. The odds seem good because the team is composed of dedicated, opinionated, adventurous people who are willing to learn and work their assess off. Will the gamble pay off? Who knows. A lot of thought has gone into this work---as of this writing, 2,872 emails have been exchanged over the two Biomodd [LBA2] email lists of which 101 individuals are part. Don't even ask how much this project costs because, honestly, we don't know. I'm not sure we want to. There's much to be said about Biomodd [LBA2], but there's always more to be said. Visit our website. Talk to our Team. But above all, immerse yourself in our world, which has been for me inconsistent, massively connected, full of tension, and disturbingly satisfying.</blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-6400225567467106194?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-20328615481944208762009-08-02T07:48:00.000-07:002009-08-02T07:53:42.210-07:00This is my writeup for <a href="http://www.biomodd.net/events/Los-Banos-Opening">Biomodd's Los Baños exhibit</a>: <blockquote>A beta software release is an experimental version of a software product that is functional enough to be useful to its users but not stable enough to be used for mission critical tasks. The perpetual beta approach to software development opens up the experiment to a wide audience. Tim O'Reilly <a href="http://oreilly.com/web2/archive/what-is-web-20.html?page=4">notes</a> that by relying on "users [...] as co-developers, in a reflection of open source development practices", the perpetual beta approach allows a product to be refined to meet the interests of the people for whom the product is relevant. By releasing early and releasing often, developers are able to come ever closer to (but never zero in on) a highly useful product that might ultimately bear only a passing resemblance to what they had originally envisioned. No one in the Biomodd [LBA2] Team has ever described Biomodd as a work in perpetual beta; aside from the fact that the singular piece of software in the project---the video game---accounts for only a portion of the installation, Biomodd's utility value and its target audience are not easy to pin down. But the term captures other salient features of the project that a phrase like "work in progress" fails to. For instance, most ideas are presented, discussed, and sometimes concluded over the open forum of an unmoderated email list. (The process is rarely easy, the decisions rarely final.) Moreover, over the course of the six months, frequent releases of the project came in the form of talks, interviews, and lectures, each of which would pull new people into the connective tissue of the Team. And if one thinks of Biomodd [LBA2] as a sequence of product releases from one point in the past to the present time, initiatives such as the Master Class in New Media Art Practice and social events such as An Affair Gastronomique are activities that had branched off from the main task of building the art object itself. These parallel activities are essential to and constitutive of Biomodd [LBA2] in particular and to the Biomodd cycle as a whole. That Biomodd does not end affines the project most strongly to the perpetual beta approach. As Biomodd [LBA2] is being built with materials and ideas taken from the previous version in Ohio built in 2007, so will portions of this version be used eventually to build Biomodd versions in other places, in collaboration with other people. "Ang lahat ng bagay ay magkaugnay," Joey Ayala sings. What he doesn't mention is that the connections often have to be uncovered or constructed. Every object in this exhibit space is inherently connected or potentially connectable---thematically, tangibly, materially, visually---to every other object. Biomodd [LBA2] is exhibited here with an invitation for you to reflect on and construct the connections that matter to you the most, and to participate in the project's aesthetic, social, and ever-surprising evolution.</blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2032861548194420876?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-14516283242893288642009-07-24T03:55:00.000-07:002009-07-24T04:00:50.101-07:00<blockquote>"FILIPINO FARMERS who use mobile phones have shown a 11%-17% increase in per capita consumption, a finding that lends support to past studies linking mobile access to growth, a policy working paper from two World Bank (WB) researchers published in July 1 showed." </blockquote>When someone posted <a href="http://www.itmatters.com.ph/news.php?id=072109c">that news article</a> on the Philippine ICT Research maillist, anthropologist Raul Pertierra gave the following observations: <blockquote> I remain skeptical of these claims and would like to see the raw data and conditions of research before accepting this conclusion. Perhaps someone can locate the original research so we can assess it for ourselves. If we read the article carefully, it seems that the researchers are making hypothetical claims that may sound reasonable in some circumstances---e.g. price information may result in better deals for producers. (There is really no new data presented.) But this is rarely the problem in the philippines - people know the prices for their goods but are nevertheless forced by circumstances (debt obligations, desperation, bullying tactics, etc) to sell their goods for a low price. I remember in the 70's-80's, President Marcos would announce the minimum prices for virginia tobacco in Ilocos (martial law pa yun panahon) - but the prices paid by buyers was much lower. When farmers pointed out marcos' speeches, they replied "Then sell your tobacco to apo marcos!" I have no doubts that the cellphone has facilitated life for most pinoys, especially those in rural areas. i have myself enjoyed these benefits. I also am sure that the mobile has made business transactions easier for many and may even have improved their incomes. certainly almost every sari-sari store is now a dealer for smart, globe, etc. - They are certainly raking in profits even if not as much as the telcos themselves. But is this wealth trickling down to poorer Pinoys and will it result in significant economic and hence social transformation? It is too early to answer the question and it will depend as much on the investment strategies of the big players rather than the actions of poor farmers. in the meantime cellphones have indeed transformed many elements of rural life - good and bad. One can now easily stay in touch with family &amp; friends, etc; even some schools are benefiting from the new technology, etc - but expenses are often excessive and wasteful, gambling has increased, the commodification of leisure may result in lowering social capital. We certainly need reliable research to decide what's really happening but the telcos, government &amp; global institutions are mainly interested in propagating their own agendas. ultimately mobiles are really just tools for communication - what is communicated &amp; with what effects is often beyond their determination. but we cannot undervalue communication in an age when everyone has a view on everything - the democratization of communication will have revolutionary consequences just as did the invention of the printing press and the spread of literacy - but no one can predict the exact direction of this revolution - it may result in emancipation but just as easily in new forms of oppression and conformity. The facility in communicating globally may just result in a babble of incomprehensible tongues - a modern tower of babel. </blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-1451628324289328864?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-1562072698325608692009-07-18T01:33:00.000-07:002009-07-18T01:37:22.601-07:00<a href="http://www.cp-union.com/cpunion/event/2009/06/24/new-media-and-2010-elections-july-242526-2009-sofitel-philippine-plaza-manila">This event</a> looks very cool: <blockquote>The Computer Professionals’ Union presents a half-day event entitled <b>“New Media and 2010 Election”</b> featuring inputs from essential personalities/groups who successfully engage in turning new media into a success tool in electoral campaigns. <b>Ms.Mary Joyce</b>, the New Media Operation's Manager for Barack Obama's presidential campaign, will be present in the event to share strategies to maximize the potentials of New Media to win electoral campaigns.</blockquote><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-156207269832560869?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-90613657034765324732009-07-17T05:22:00.000-07:002009-07-19T19:42:04.847-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_D0SLDcRRiX0/SmPZb3u26ZI/AAAAAAAAC5M/tjDAMebba3s/s1600-h/invite.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 266px;" src="http://3.bp.blogspot.com/_D0SLDcRRiX0/SmPZb3u26ZI/AAAAAAAAC5M/tjDAMebba3s/s400/invite.jpg" alt="" id="BLOGGER_PHOTO_ID_5360367054341204370" border="0" /></a>Dear UPOU staff, faculty, students, alumni, supporters, and community members, please join the Biomodd [LBA2] Team before the installation opens this August at the UP Los Baños Student Union Building. Learn more about the crazy things that have been going on in this space that our Team members fondly call "The Lab". See lumot and motherboards like you've never seen them before. Be amazed at how we haven't blown up anything. July 21, 4-5 pm Oblation Hall UPOU Headquarters College, Los Baños<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-9061365703476532473?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-73995523131662017712009-07-16T01:39:00.000-07:002009-07-18T01:08:01.334-07:00Angelo Vermeulen and I giving lectures at <a href="http://www.aseum09.tk/">Asia-Europe (New) Media Art Symposium</a> from July 21 through 25. The <a href="http://sites.google.com/a/upou.edu.ph/diegomaranan/portfolio/ASEUM-PROGRAM.pdf">program</a> is varied and interesting. Come check it out.<div><div><div><div></div><blockquote><a href="http://aseum09.tk"><img src="http://3.bp.blogspot.com/_D0SLDcRRiX0/Sl7wTCxWXRI/AAAAAAAAC4c/SvSh5u6ESWA/s320/ASEUM+Flyer.JPG" style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 320px; height: 213px;" alt="" id="BLOGGER_PHOTO_ID_5358984816569507090" border="0" /></a><div>ASEUM [is] an international network of new media art practitioners initiated by SABAW Media Art Kitchen (Philippines) and Multimedia Center KIBLA (Slovenia) that aims to become a catalyst for a cultural, educational, and technological exchange on emerging new media art practices in South East Asia with</div><div>Europe. The symposium sponsored by the Asia-Europe Foundation will consist of a series of workshops, presentations, performances, a TV lounge with video screenings, open-studio sessions, round-table discussions, and policy meetings with cultural foundations by both participating organizations, in an effort to advance artistic positions reflecting on the socio-cultural impacts of new technologies and artistic practices that not only respond to scientific or technical developments, but also try to shape the way in which we think about and experience these technologies.</div><div> </div><div>Speakers and Performers</div><div>ASEUM will showcase different new media artists from Europe and Asia through a series of interactive workshops, live audio-video performances and presentations in top universities and various artist-run spaces in Metro Manila.</div><div> </div><div><b>SPEAKERS</b></div><div><ul><li>Peter Tomaz-Dobrila “media education, infomatics, policies, and techniques on running art institutions on media art and technology” (MMC KIBLA, Slovenia) [SI]</li><li>Tad Ermitano “Practical Programming for Sound Art: Pure Data workshop” [PH]</li><li>Rick Bahague “Open source culture, advancing ICT for the masses” (Computer Professionals’ Union) [PH]</li><li>Lirio Salvador “Sound Mapping : Circuit Bending 101” (E.X.I.S.T.) [PH]</li><li>Angelo Vermeulen “Biomodd: Intersections of Art, Ecology, Gaming and Advocacy” (Biomodd [LBA2] ) [BE]</li><li>Noel De Brackinghe and Malek Lopez “Why Numbers Make Sound: Basic introduction to patching and audio synthesis” (Rubber Inc) [PH]</li><li>Diego Maranan “Data Visualization: Making meaning in an info-rich world” [PH/CA]</li><li>Darren Moore “Electro-acoustic improvisation” (Choppa, Lasalle School of Arts Singapore) [AU]</li><li>Brian O’Reilly “Computer music and live visuals” (Choppa, Lasalle School of Arts Singapore) [US]</li><li>Tim O’Dwyer “Electro-acoustic improvisation” (Choppa, Lasalle School of Arts Singapore) [AU]</li><li>House of Natural Fiber “Media art and technology in Indonesia” [Yogyakarta New Media Lab and Artist-collective] [ID]</li><li>Visual Pond “video art installation / conceptual intermedia art in the Philippines” [PH]</li><li>Aether9 “remote realtime storytelling via realtime video transmission” [All over the world]</li><li>Emma Oto “Open Structures: The application of open-source, P2P and web 2.0 principles to the physical environment, in particular the urban landscape” [JP/UK]</li><li>Jerneja Rebernak “Technology and cultural practices: Perspectives on media education” [SI/SG]</li><li>Vanini Belarmino “ZENSORS: Creative Exchanges and Collaborations” [PH/DE]</li></ul><div><b>TV LOUNGE </b></div><div> The ASEUM daily program is divided into two parts: the afternoon program where the conference and workshops will be held and the evening program where the round-table discussions and the performances will take place. During the afternoon program, a Lounge will be set up in the respective university and artist-run space venues in our program. The TV Lounge presents screenings of video documentations, video works, and AVPs from media centers, institutions, artists and collectives from Europe and Asia. Experience it intimately via the TV Lounge where a large TV and headphones are positioned in selected locations during ASEUM. Here, Audio-Video Presentations from our major speakers as well as from other media institutions, artist-run initiatives, artist collectives throughout Europe and Asia will be available for individual viewing.</div><div> </div><div><b>EAR2EYE FESTIVAL </b> Five nights of rapid electrofringe experimentation on sound and moving image with VJing, intermedia performances, cutting-edge experimental music and related visual arts. With performances by Iron Egg, Rubber Inc, Caliph8 , Gangan Ensemble, Inconnu ictu, Tengal, Aether9, Elemento, Ugong, Blend:er, Minister Zero, DJ Drumlander, Sgt. Vez, Edsel Abesamis, Tad Ermitano, Mannet Villariba, Eggboy, Autoceremony, Etniktronika, Angelo Suarez, Costantino Zicarelli, Nyangbinghi, Terraformer, plus many more! ASEUM is a project by SABAW Media Art Kitchen in cooperation with Multimedia Center KIBLA (Slovenia) and initiated with the help of Asia-Europe Foundation. For more information on festival fees, schedule, and guests email sabawmediahub@gmail.com or call/SMS +639166188191.</div></div></blockquote><div></div></div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7399552313166201771?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-41198624942896816982009-07-13T23:22:00.000-07:002009-07-14T11:44:19.515-07:00<div> <table valign="top" style="text-align: left; width: 100%;" border="0" cellpadding="2" cellspacing="2"><tbody><tr><td style="text-align: left; width: 50%;" align="undefined" valign="top"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(51, 0, 0);">Please invite Pinoys you know to complete a survey that anthropologist Raul Pertierra, political science graduate student Arjan Aguirre, and new media specialist Diego Maranan are conducting as part of a study on Filipinos and ICT use. The survey is available on two languages, has 25 questions, and takes about 10 minutes to answer. </span><a style="font-weight: bold;" href="http://www.surveygizmo.com/s/114272/web-2-0-and-you"><span class="Apple-style-span" style="color: rgb(51, 0, 0);">http://www.surveygizmo.com/s/114272/web-2-0-and-you</span></a> <span class="Apple-style-span" style="color: rgb(51, 0, 0);">(English version)</span></span></td><td style="text-align: left; width: 50%;" align="undefined" valign="top"><span class="Apple-style-span" style=""><i><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="color: rgb(102, 0, 0);">Tulungan niyo kami sa aming research tungkol sa paggamit ng Pinoy ng mga Internet technologies tulad ng chatting at email. 10 minuto lang ang kailangan para sagutin ang 25 na tanong sa survey na ito. May English at Tagalog na versions ang survey; piliin niyo na lang kung ano ang mas OK sa inyo. </span></span><span class="Apple-style-span" style="color: rgb(102, 0, 0);"> </span><span class="Apple-style-span" style="font-style: normal;"><a style="font-weight: bold;" href="http://www.surveygizmo.com/s/118747/ikaw-at-web-2-0"><span class="Apple-style-span" style="color: rgb(102, 0, 0);">http://www.surveygizmo.com/s/118747/ikaw-at-web-2-0</span></a> <span class="Apple-style-span" style="color: rgb(102, 0, 0);">(Tagalog/Filipino version) </span> </span></i></span></td></tr></tbody></table> </div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4119862494289681698?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-26955392214929310492009-07-13T22:39:00.000-07:002009-07-18T21:03:17.562-07:00<div style="text-align: center;"><blockquote><div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"> <a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_affair%20gastronomique%20invite%20front.jpg?attredirects=0" imageanchor="1"> <img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_affair%20gastronomique%20invite%20front.jpg" border="0" /> </a> </div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"> <a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_resto.jpg?attredirects=0" imageanchor="1"> <img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_resto.jpg" border="0" /> </a> </div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"> <a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_resto2.jpg?attredirects=0" imageanchor="1"> <img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_resto2.jpg" border="0" /> </a> </div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"><a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_soup.jpg?attredirects=0" imageanchor="1"><img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_soup.jpg" border="0" /></a></div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"><a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_ribs.jpg?attredirects=0" imageanchor="1"><img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_ribs.jpg" border="0" /></a></div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"><a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_dessert.jpg?attredirects=0" imageanchor="1"><img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_dessert.jpg" border="0" /></a></div> <div style="margin: 5px 10px 0pt 0pt; display: inline; float: left;"><a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_greens.jpg?attredirects=0" imageanchor="1"><img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_greens.jpg" border="0" /></a> </div> <div style="margin: 5px 10px 0pt 0pt; display: inline;"> <a href="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_anino.jpg?attredirects=0" imageanchor="1"><img src="http://sites.google.com/site/biomoddlba2/events/biomodddinnerbenefit/resized_anino.jpg" border="0" /></a></div> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_D0SLDcRRiX0/SlwpFxav8DI/AAAAAAAAC4U/DQJmjnW2mpc/s1600-h/affair+gastronomique+invite+front.jpg"></a> <div style="text-align: center;"> <p style="margin: 0px; text-align: justify;">Having started as a little-known “secret restaurant” in Quezon City, Ninyo<b> </b>has become a gem of a dining haven, boasting of fine French and Japanese fusion cuisine. This year marks a milestone in the history of the restaurant as executive Chef Niño Laus takes the standards of fine dining to the next level.</p> <p style="margin: 0px; text-align: justify;"></p> <p style="margin: 0px; text-align: justify;"> </p><p style="margin: 0px; text-align: justify;"><spanspan style="">On Friday, 31 July 2009, Ninyo Fusion Cuisine, in cooperation with Barton &amp; Guestier, will officially open its doors with </spanspan><b style=""><i><spanspan style="">An Affair Gastronomique</spanspan></i></b><b style=""><i><spanspan style="">!</spanspan></i></b><spanspan style=""><spanspan><spanspan style=""> </spanspan> </spanspan>On this exclusive 8-course dégustation, Ninyo will take you on a journey to the French countryside while reminding you of its Japanese inspirations. Guests will also enjoy a shadow theatre performance by Anino Shadowplay Collective, and a special multi-media performance by artist Tengal Drilon. To top it all off, wine lovers will be treated to a wine-tasting session with the restaurant’s own sommelier. </spanspan></p> <p style="margin: 0px; text-align: justify;"><span class="Apple-style-span" style="line-height: 15px;"></span></p> <p style="margin: 0px; text-align: justify;"><span class="Apple-style-span" style="line-height: 15px;"> </span></p><p style="margin: 0px; text-align: justify;"><spanspan style=""><span class="Apple-style-span" style="line-height: 15px;">Ninyo Fusion Cuisine is located at 66 Esteban Abada Street Loyola Heights, Quezon City (behind Katipunan Avenue). Cocktails start at 6pm.</span></spanspan></p><p style="margin: 0px; text-align: left;"><span class="Apple-style-span" style="line-height: 15px;"> </span></p> <p style="margin: 0px;"><spanspan class="Apple-style-spanspan" style="line-height: 15px;"></spanspan></p> <p style="margin: 0px; text-align: left;" align="center"><spanspan style="line-height: 15px;" lang="EN-US"> </spanspan><b><spanspan style="line-height: 15px;" lang="EN-US">Menu</spanspan></b><spanspan style="line-height: 15px;" lang="EN-US"></spanspan></p> <p style="margin: 0px; text-align: left;" align="center"></p><ul><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Uni wrapped in puff pastry with wasabi aioli sauce</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Duet of oysters - oyster shooter and wasabi fried oyster</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Mesquite-smoked duck breast skewers wrapped in cotton candy frost with grilled watermelon served with mixed greens in cranberry ponzu dressing</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Cream of nori and carrot soup</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Sake steamed dory f<spanspan style="letter-spacing: -2pt;"> </spanspan>illet on spinach with assorted mushrooms topped with a spaghetti of fried dory</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Yuzu calamansi sorbet</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Miso-braised U.S. Short ribs set on wasabi mashed potato</span></li><li style="text-align: left;"><span class="Apple-style-span" style="line-height: 15px;">Valrhona chocolate rice pudding roll with Laguna white cheese drizzled with Baileys cream sauce</span></li></ul><p></p> <p style="margin: 0px; text-align: left;" align="center"><span class="Apple-style-span" style="line-height: 15px;"> </span></p> <p style="margin: 0px; text-align: center;" align="center"><spanspan style="line-height: 15px;" lang="EN-US"> </spanspan><spanspan style=""></spanspan></p> <p style="margin: 0px; text-align: left;"><spanspan style="line-height: 15px;" lang="EN-US">For seat reservations, contact Ninyo at 426-0301 or Lai del Rosario at 0917-5718629. PhP2500 per person. A group of 4 gets a 10% discount and an additional bottle of </spanspan><b><spanspan style="line-height: 15px;" lang="EN-US">Barton &amp; Guestier</spanspan></b><spanspan style="line-height: 15px;" lang="EN-US">.</spanspan></p><p style="margin: 0px; text-align: left;"><span class="Apple-style-span" style="line-height: 15px;"> </span></p> <p style="margin: 0px;"><spanspan class="Apple-style-spanspan" style="line-height: 15px;"></spanspan></p> <p style="margin: 0px; text-align: left;"><spanspan style="">Proceeds will be donated to <b>Biomodd</b>, a project that shares Ninyo’s passion for fusion and aims to promote art, environmental-consciousness and technology through collaborations and exhibitions. Visit <a href="http://www.biomodd.net/" target="_blank" style="">www.biomodd.net</a>. Biomodd is co-presented by the University of the Philippines Open University. </spanspan></p><p style="margin: 0px; text-align: left;"> </p> <p style="margin: 0px;"></p> <p style="margin: 0px; text-align: left;"><spanspan style="">Special thanks to Baileys, Hershey’s and the Philippine Orchid Society.</spanspan></p><p style="margin: 0px; text-align: left;"> </p> <p style="margin: 0px;"></p> <p style="margin: 0px;"></p> <p style="margin: 0px;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_D0SLDcRRiX0/SlwpFgrGIVI/AAAAAAAAC4M/YYF_0UauXM8/s1600-h/affair+gastronomique+invite+back.jpg"><img src="http://3.bp.blogspot.com/_D0SLDcRRiX0/SlwpFgrGIVI/AAAAAAAAC4M/YYF_0UauXM8/s320/affair+gastronomique+invite+back.jpg" alt="" id="BLOGGER_PHOTO_ID_5358202831310823762" style="margin: 0px auto 10px; text-align: left; display: block; cursor: pointer; width: 320px; height: 229px;" border="0" /></a></p> <p style="margin: 0px;"></p> <p style="margin: 0px;"></p> <div></div> </div> </blockquote> <div></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-2695539221492931049?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-76816321117239345912009-07-08T04:14:00.000-07:002009-09-10T03:54:59.670-07:00<div style="text-align: left;">Click on the image below to enlarge it. Notes:</div><ul style="text-align: left;"><li>All the local servers and local computers need not be unique. They could all be the same machine.</li><li>This image lists only data flows. Flows of water and energy are a different chart altogether. :)</li><li>The reasons why we don't install our own webserver: </li><ul><li>We may not be able to handle the requests of hundreds of users around the world asking for our live video feed, our interactive data visualization tools, and the interactive interface for our robot zen garden arm. </li><li>Hosting some of our things on the UPOU website draws traffic to UPOU. Nice instant PR. :)</li><li>We also can't host many of our interactive thingies (which are likely going to be Java applets) on our Google-based website</li></ul></ul> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_D0SLDcRRiX0/SlSF2ivvkNI/AAAAAAAAC2c/vx32nEkYsWQ/s1600-h/DataFlows.2009.07.07.jpg"> </a><div><span class="Apple-style-span" style="color:#0000EE;"><span class="Apple-style-span" style="text-decoration: underline;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); -webkit-text-decorations-in-effect: none; "><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_D0SLDcRRiX0/SqjaztZqveI/AAAAAAAADEw/4DgDCQOAZaA/s1600-h/DataFlows.2009.07.07.jpg"><img src="http://3.bp.blogspot.com/_D0SLDcRRiX0/SqjaztZqveI/AAAAAAAADEw/4DgDCQOAZaA/s320/DataFlows.2009.07.07.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5379790336789495266" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 320px; height: 189px; " /></a></span></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-7681632111723934591?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com2tag:blogger.com,1999:blog-1889203898195415200.post-53823034151741346712009-06-27T19:59:00.000-07:002009-06-27T21:05:21.699-07:00Jeryl and I are alone in the lab. Vanni and Cathy and Iyen were here the other day; Iyen left yesterday.Yesterday, we moved things around in the sculpture and tried to bring everything together: six monitors, tropical plants, fish aquarium, algae aquarium, PET bottles. It's cramped, but we ended up with something that might workable. <a href="http://picasaweb.google.com/lh/view?uname=biomoddlba2&amp;isOwner=true&amp;tags=%22prototype%202009june28%22#">Pictures here</a>.<div> </div><div>Notes:</div><div><ul><li>Following Kent, we clustered monitors into two groups of three monitors (i.e., there's are two sides of the octagon directly across each other that don't have a monitor). </li><li>Following Angelo, we vertically divided the interior of the case into a forest-y section and aquarium-y/aquaponic-y section. The division isn't exact and almost nothing is symmetrical, which gives a very narrative feel to the interior.</li><li>Vanni strung the PET bottles in a haphazard, web-like arrangement... which seems to work better than a highly organized/crystalline tructure. We'll see what Angelo says. </li><li>For fun, I tried to see whether the solar fairy garden lights could be recharged by the light bulbs in the sculpture. They can! :)</li><li>We talked about creating modular units that interlock neatly to form a floor. These units would take into account the position of the various pieces in the interior (i.e., the monitor stands and the aquarium rack). These modular units are actually pots for the plants. They would have a layer of soil on the top, a substratum of something like sand, and underneath would be a layer of gravel or large pebbles, which not only provide the necessary drainage for the plants, but could allow these modular pots to be integrated into the aquaponic system. So we able to keep the Laguna soil in the installation but still integrate the tropical rainforest plants in the aquaponic system. This would require some calculation. </li><li>The prototype aquaponic system had <a href="http://picasaweb.google.com/biomoddlba2/WeekOfJune22#5351907043321876978">too much nutrient</a> in the water, so Vic and the other added additional plants and bacteria-rich medium into the system.</li><li>We talked about clustering systems together: all the electronics could be mounted on racks on one or two of the octagon's sides, all the tubing and pumps could be in another section. Vanni had an interesting idea of putting all the electronic plugs on the side of the octagon where the large tree is pushed against.</li></ul><div>On Friday there was miscommunication between Ems and me (mostly my fault) and the shuttle ended up being cancelled. Iyen, Cathy, and Vanni took the bus. Contrite, I made a large brunch: <i>kesong puti</i>, <i>pan de sal</i>, roast chicken, my "Asian" ramen salad.</div><div> </div><div>I cleaned the lab all morning. I think we all need to learn better how to clean up after ourselves, put back things either where they found it or somewhere even more logical, throw away things that really have no foreseeable use. That's probably my only gripe for the team from this week. Otherwise, it's been fantastic!</div><div> </div><div>In terms of getting the system to function properly, I think closing the sculpture is the most crucial task of all now. Since the inside is so tight right now (unless we don't use the large aquarium or don't include the massive tree) I was thinking that the only way to get around both the problem of trying to create easy access to the installation and for closing the sculpture was to have every side would be a large, hinged, service door that seals when closed. A hinged door would also be easier to remove from the sculpture and transported.</div><div> </div><div>Angelo is here! He arrived last night.<span class="Apple-tab-span" style="white-space:pre"> </span></div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-5382303415174134671?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-42193127768073593282009-06-25T03:31:00.000-07:002009-06-27T20:47:52.472-07:00Today was a quiet but good day. This is what we accomplished: * Kristine replaced the waterlogged soil of the two large vines. The soil looks much better now! * Kristine &amp; Tina have seeded the stones with urea to culture the nitrate-fixing (?) bacteria. * Kristine, Tina, and I talked about issues with automatically refilling the tank. There are issues about where the water would come from, and what form the refilling mechanism would take. Tina suggested a floater in the aquarium tank attached to a ball that would stop the water coming from a reflling receptacle. This receptacle would probably have to be fairly small as it needs to fit inside the sculpture (presumably) and easy to refill. * I divided the plants basically into two groups: the ones that need a lot of light are next to the algae counter next to all the fluorescent lights. * The internet issue in the guest house has been sorted. UPOU's Kwiknet connection is pushing through! * I made a salad lunch: julienned petsay, carrots, red peppers, green onions, mongo sprouts (toge), toasted garlic peanuts, crumbled instant noodles, kimchi, pepper, vinegar, and knorr garlic seasoning. We still have to finish the curry tuna sandwich spreadI made. The plants seem to feel happy. Important note about the guest house: From July 10 to 12, we'll have foreign guests at the guest house. Angelo's room is still reserved, but the rest of us will have to bring sleeping bags or camp somewhere else or not stay the night.<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-4219312776807359328?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-8471835699189646722009-06-24T05:27:00.000-07:002009-06-24T05:45:06.079-07:00<div><b>Health</b></div><div> </div><div>1. Drink plenty of water </div><div>2. Eat breakfast like a king, lunch like a prince and dinner like a beggar </div><div>3. Eat more foods that grow on trees and plants, and eat less food that is manufactured in plants </div><div>4. Live with the 3 E's -- Energy, Enthusiasm, and Empathy </div><div>5. Make time for prayer/meditation/reflection</div><div>6. Play more games </div><div>7. Read more books than you did in 2008 </div><div>8. Sit in silence for at least 10 minutes each day </div><div>9. Sleep for 7 hours </div><div>10. Take a 10-30 minutes walk every day ---- and while you walk, smile</div><div> </div><div><b>Personality</b></div><div><b> </b></div><div>11. Don't compare your life to others'. You have no idea what their journey is all about. </div><div>12. Don't have negative thoughts or things you cannot control. Instead invest your energy in the positive present moment </div><div>13. Don't overdo; keep your limits </div><div>14. Don't take yourself so seriously ; no one else does </div><div>15. Don't waste your precious energy on gossip </div><div>16. Dream more while you are awake </div><div>17. Envy is a waste of time. You already have all you need... </div><div>18. Forget issues of the past. Don't remind your partner with his/her mistakes of the past. That will ruin your present happiness. </div><div>19.. Life is too short to waste time hating anyone. Don't hate others. </div><div>20. Make peace with your past so it won't spoil the present </div><div>21. No one is in charge of your happiness except you </div><div>22. Realize that life is a school and you are here to learn. Problems are simply part of the curriculum that appear and fade away like algebra class but the lessons you learn will last a lifetime. </div><div>23. Smile and laugh more </div><div>24. You don't have to win every argument. Agree to disagree. </div><div> </div><div><b>Community</b></div><div><b> </b></div><div><b> </b></div><div>25. Call your family often </div><div>26. Each day give something good to others </div><div>27. Forgive everyone for everything </div><div>28. Spend time with people over the age of 70 &amp; under the age of 6 </div><div>29. Try to make at least three people smile each day </div><div>30. What other people think of you is none of your business </div><div>31. Your job won't take care of you when you are sick. Your family and friends will. Stay in touch. </div><div> </div><div><b>Life</b></div><div> </div><div>32. Do the right things </div><div>33. Get rid of anything that isn't useful, beautiful or joyful </div><div>34. The Universe heals everything </div><div>35. However good or bad a situation is, it will change </div><div>36. No matter how you feel, get up, dress up and show up </div><div>37. The best is yet to come </div><div>38. When you awake alive in the morning, thank the Universe for it </div><div>39. Your Inner most is always happy. So, be happy.</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1889203898195415200-847183569918964672?l=diegomaranan.blogspot.com' alt='' /></div>Diegonoreply@blogger.com0tag:blogger.com,1999:blog-1889203898195415200.post-30821420887749708612009-06-22T00:28:00.001-07:002009-06-27T20:48:06.322-07:00<div><div><span class="Apple-style-span" style="font-size:large;"><span class="Apple-style-span" style="font-weight: bold;">OVERALL RECOMMENDATIONS</span></span></div> <div></div> <div> </div><div>With a little over a month before the UPLB ingress, some of our previous approaches to working with the project are reaching their limits. We should now recognize a set of "reversal" approaches that may depart from the previous methods.<span style="font-style: italic;"><span style="text-decoration: underline;"></span></span></div> <div><span style="font-style: italic; text-decoration: underline;"></span></div> <div><span class="Apple-style-span" style="font-style: italic; text-decoration: underline;"> </span></div><div><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">Set drastic limits on decision-making with the project</span></span></span></span></div> <div></div> <div> </div><div>"The way it's worked so far," Vanni observed, "is to just go ahead and do something before anyone else can say anything about it." Another way of putting it is: </div> <div></div> <blockquote> <div>When something has been made in the lab, we keep it, unless the people who created it agree to chuck it. </div> <div></div> </blockquote> <div>I would take this further, however: </div> <div></div> <blockquote> <div>At any given time, the people who are in the lab call the shots. </div> <div></div> </blockquote> <div>This system could actually work perfectly fine, as long as people agree to this. At this point, maybe we need to think claiming and gracefully relinquishing power---as groups and as individuals---when needed... and the locus of that power is the Oblation Hall. </div> <div></div> <div><span class="Apple-style-span" style="font-style: italic; text-decoration: underline;"> </span></div><div><span class=""><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">Stop supporting designs that cannot be supported by our current volunteer and resource base</span></span></span></span></span></div> <div></div> <div> </div><div>From, "Design it, and we will find a build it," we reverse that as, "What do we have now and what can we can very easily acquire? Let's design and build around that," consistent with King's concerns. </div> <div></div> <div> <div><span class="Apple-style-span" style="font-weight: bold;"> </span></div><div><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size:large;">SPECIFIC RECOMMENDATIONS</span></span></div><div><span class="Apple-style-span" style="font-weight: bold;"> </span></div><div>These are the direct implications of these proposed reversals. All of these ideas I've consolidated from various suggestions and ideas I took from the lab. </div></div> <div></div> <div><span class="Apple-style-span" style="font-style: italic; text-decoration: underline;"> </span></div><div><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">Assume six computers in the final sculpture</span></span></span></span></div> <div></div> <div> </div><div>We work with the computers we have. We have enough components for six computer, which is already a step up from [ATH1]. Let's call off the active search for more computers. If they come, they come, and we can decide whether to keep them, but let's stop devoting any more energies to this search.</div> <div style="text-align: left;"></div> <div><span class="Apple-style-span" style="font-style: italic; text-decoration: underline;"> </span></div><div><span class=""><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">Forget the exploded tree</span></span></span></span></span></div> <div></div> <div> </div><div>Let the "prototype" cocolumber structure actually be the final structure, because we will probably not be able to get the exploded tree acquired, cut, and constructed the way we want it to in time for the ingress. Looking at the structure, one can see that a lot has already been investment in that cocolumber octagon. If we keep nurturing what we've started (e.g., keep growing the vines, keep experimenting with the watering system, etc.), we'll have a fantastic final product. Let's call off the search for an exploded tree. If it comes, it comes, and we can decide whether to keep it, but let's stop devoting any more energies to the search for an exploded tree.</div> <div></div> <div> <div><span class="Apple-style-span" style="font-style: italic; text-decoration: underline;"> </span></div><div><span class=""><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">We combine a </span></span></span></span><span class=""><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;">limited</span></span></span></span></span><span style=""><span style=""><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"> simulation of a tropical rainforest with aquaponics</span></span></span></span></span></div> <div><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span style=""></span></span></span></div> <div style="text-align: left;"> </div><div style="text-align: left;">Some of the plants we've cultivated seem to thrive indoors. Som