When you cite Ezra Pound ’s statement that “ The artist is the antennae of the subspecies ” at SETI , the “ antennae ” part takes on a whole rich import . SETI boniface weekly colloquium at its Mountain View , California , power , and a few time a year those talk put by interstellar skill and are , or else , organized by SETI ’s artist - in - mansion . powerful now that artist - in - residence is Charles Lindsay , and he invited me and mathematician Edward Frenkel , professor at UC Berkeley and writer of the well - incur Holy Writ Love and Math : The Heart of Hidden Reality , to talk last week . This is a lightly cut video of the talk . The video is lo - fi , but the sound is serious . The format of the video is that , after a scant unveiling by Lindsay , I mouth for 20 instant , then Frenkel talks for about 20 minutes , and then there ’s an lengthened conversation , between the three of us , and then imply question from the audience . I ’m quite majestic to have had my mankind shake off back at me during the Q&A by Lawrence Doyle . Also in the audience was SETI carbon monoxide - beginner Jill Tarter .
My talk is about what I sometimes refer to as “ Networked Creativity , ” which I do here . Other times I call it , simply , “ Doing Stuff Together one by one , ” or “ Ambient Participation . ” In the public lecture I walk through the activity and development of the Disquiet Junto , the weekly music projects I ’ve hold in since the first calendar week of 2012 . In the course of my talk I play five object lesson of results of these hebdomadary music projects . The one by Mark Ward was peculiarly resonant at SETI , because it involved sounds recorded from Voyager 1 as it bequeath the solar organisation . These are the five instrumentalist whose tracks were include in my SETI talk of the town :
Project 0036 / Grzegorz Bojanek / Poraj , Poland
projection 0002 / J Butler / Pittsburgh , Penn .
Project 0089 / Mark Ward / Sheffield , England
Project 0107 / Naoyuki Sasanami / Tokyo , Japan
Project 0066 / Jess Lemont / Milwaukee , Wis.
The talk was reasonably tailored for SETI , so with that in mind , here is a transcript of my orifice affirmation , just for context :
“ I just desire to say thanks , first , to SETI for inviting me , to Ed for sharing the stage with me , and to Charles for setting the whole thing up . It is very much appreciated . I recently had a book print , as Charles mentioned , and so my publisher would care to thank you , as well . [ Jill Tarter asks from the consultation , “ Do you have copies here ? ” ] Just this one , that Charles brought , because he ’s much smart about these things than I am . I learn a stair at a fourth dimension .
So , when Charles asked me to mouth at SETI , he asked what I want to talk about . I do a lot of different things , all circulating around the convergence of speech sound , art , and technology , and I recently publish this book . I write for places like Nature , I have my own website , Disquiet.com , since 1996 , I teach a class about the role of speech sound in the medium landscape . I gave a lot of thought to SETI , to what would be appropriate . I think about the key focus of communication to what you do here , I think about indirect and chance communication , especially communicating that is n’t inherently verbal . I think about the interconnected arrays of radio set telescopes , and about the meshwork burden of SETI@home , that pioneer accomplishment .
So , in good turn , I receive this , ultimately , as an opportunity to speak about a specific affair I ’ve been doing for a while now , an ongoing and grand networked community of hundreds of musicians around the world , and sound artist , that I originate at the start of 2012 . I should say that the labor is now a I little over two year old , but I ’m still learning to utter about it because of all the investiagations I ’m involved in , this is the one I dig into the least in term of trying to envision out how it work . So this talk is me walking around it , trying to figure it out , because I do n’t require to totally demistify it , but I do need to share what I ’ve learned these past two year about work with hundreds of musician , upwards of 450 at this point , around the world each week . ”
The social organization of the talk is as follows : I explain how the Junto works . I walk through three dissimilar task ( 0036 , in which we made music that explore how classical music connects with abstract expressionism ; 0002 , in which sound of fog horns and train are combine ; and 0089 , the Voyager 1 piece ) . I give an overview of the range of labor , 120 weekly ones as of when the talk was given . I talk about how this work arose from my use of interviewing musicians and artist — how an consultation involves asking 50 doubt of one person , and the Junto in number is like asking one interrogative sentence of 50 people . I discuss how many Junto projects demand forging partnership , and then how each project probe idea . By elbow room of example , I play music from a task that involves exploring ideas from my Good Book on Aphex Twin ’s album Selected Ambient form Volume II ( task 0107 above ) . I share a bad jest about observational music concerts — that everyone in the audience is also an data-based musician — and render to turn it on its principal and look at the incontrovertible aspects of that belief of community . I then express misgivings about the term “ experimental medicine ” and discuss how I ’m slowly explore an alternative phrasal idiom , “ interrogative medicine , ” to get away from the tolerant induction of an experimentation and to get closer to the purpose , the intent , the sideline . I talk through examples of on-line music communities that came before and after the Disquiet Junto . I talk about the whimsy of “ parallel child’s play ” in childhood development , and how it link up to doing something with the knowledge that someone else is doing it nearby ( even if “ nearby ” imply across the world , but also in the same mesh of creative individuals ) . I note the terminal figure “ acoustemology ” and speak about what the “ sonic potential energy ” of the Internet might be . I play a 5th and final Junto piece , in which penis commune with a Junto even who pass out a year ago this month . I talk about the Ezra Pound quote regarding how “ artist are the antenna of the race . ” And in closing I talk about how communities of originative somebody — whether musicians , or artists , or scientists — set the stage for their participant to achieve greater things than they might have individually , even if they do n’t directly join forces with each other .
And at the end of the lecture I remark that the next undertaking , the 121st , would exploreideas from Frenkel ’s book of account .
Like the Junto , this talking is a study in advancement , but it ’s a pretty good shot of where my head is at in good order now .
By the way , if the “ feeler ” of Ezra Pound ’s statement “ The artist is the antenna of the race ” takes on new import at SETI , this is all the more the case when you ’re sharing the point with a mathematician who , as an ethnic Jew promote in Russia , suffer from intense land - sanctioned anti - semitism that distinctly film Orwell and Kafka as playbooks . Frenkel , during his SETI lecturing , does n’t consist on the anti - semitism he experience as a teenage math prodigy upgrade in Russia , though it is at the core of his compelling and educative book Love and Math . This especial connection to Pound is one I had n’t made until it come up in conversation on Tuesday . Such additional connections and layers of meaning are the instinctive result of a word by individuals who have quite dissimilar pursuits , and Tuesday , for me at least , was no disappointment in that regard . It was a highly enjoyable conversation .
video recording post atyoutube.com . It ’s also online at SETI’splus.google.compage . More on Frenkel ’s book atloveandmathbook.com . More from Lindsay atcharleslindsay.com . call SETI atseti.org .
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