“Pulse Shape 22: Audiovisual Performance and Data Transmutation” by Cetila
Conference:
Type(s):
Title:
- Pulse Shape 22: Audiovisual Performance and Data Transmutation
Presenter(s)/Author(s):
Abstract:
Pulse Shape 22 is an improvisational audiovisual performance featuring shortwave radio transmissions as the sole source material for real-time audio processing alongside video of the sun projected through cast-glass lenses designed specifically for this piece. The structure of the piece is derived from metrics on energy accumulation over a period of 2.2 nanoseconds resulting from the targeting of 60 laser beams on a single tetrahedral hohlraum in weapons testing experiments as carried out by the Los Alamos Inertial Confinement Fusion unit, at the Omega Laser Facility at the University of Rochester. Pulse Shape 22 is an exploration of architectural space through the use of site- and time-specific information found in regions of the electromagnetic spectrum outside the reaches of the human
sensory apparatus. It is an attempt to alter the audience’s perceptions of their surroundings and create
a moment of rupture from hidden worlds found in our local environment.
References:
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3. Los Alamos National Laboratory, Tetrahedral Hohlraum High-Convergence Implosion Experiments on Omega ID4-FY98 (Los Alamos, NM: Los Alamos National Laboratory, 1998), 2.
4. J. Cage, Silence (Hanover, NH: Wesleyan University Press, 1961), 3.
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13. Ibid.
14. Cavanaugh later withdrew all of his films from the Anthology Film Archives “at a time in his life when, due to extreme LSD experiences, he sank into a period of insanity during which he was institutionalized for several years,” cf. Fluxfilm Anthology, <http://home.utah.edu/~klm6/3905/ff5_ Blink.html>, accessed March 2016.
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17. Ibid.
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19. Ibid., 272.
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21. M. Pierson, “Introduction: Ken Jacobs—A Half-Century of Cinema,” Optic Antics: The Cinema of Ken Jacobs, eds. M. Pierson, D. E. James, and P. Arthur (New York: Oxford University Press, 2011), 16.
22. C. van Campen, The Hidden Sense: Synaesthesia in Art and Science (Cambridge, MA: MIT Press, 2008), 45.
23. Ibid., 20–23, 50–53.
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