%% Offener_Schaltkreis.tex
%
%% Copyright (C) 2005-2008 C.Haag, M.Rumori, F.Windisch, L.Zeller 
%
%
% This work conists of following files:
% 
% http://www.forkable.eu/release/osk/Offener_Schaltkreis.tex
% http://www.forkable.eu/utils/latex/sty/Offener_Schaltkreis.sty
% http://www.forkable.eu/utils/latex/sty/LSI-8x10+crop.sty
% http://www.forkable.eu/utils/latex/commands
% http://www.forkable.eu/release/osk/i/
% 
% and the derived files to be found at:
% http://www.forkable.eu/release/osk/o/

\documentclass[11pt,english]{scrbook}
\title{\emph{Offener Schaltkreis.} An Interactive Sound Installation}

\usepackage{i/a/utils/latex/sty/Offener_Schaltkreis}

\begin{document}
\selectlanguage{english}

%_____________________________________________
\begin{normalsize}

\noindent
This document was set in \LaTeX{}.\\ 
Apart from the pdf version, the \LaTeX{} code is available at:
\begin{quote}
\textbf{http://osk.openkhm.de/}
\end{quote}

\bigskip
\vfill
\noindent
Copyright \copyright{-0.4\lineheight} % SPACING FRONT
			{-1}{-6} % POSITION
			{height=1.5\lineheight} % SCALE
			{1.3\lineheight} % SPACING BACK
2005-2008
C.\smallspace{}Haag, 
M.\smallspace{}Rumori, 
F.\smallspace{}Windisch, 
L.\smallspace{}Zeller

\bigskip
{
  \noindent
  Permission is granted to copy, distribute and/or modify 
  this document under the terms of the GNU Free Documentation 
  License, Version~1.2 or any later version published by the 
  Free Software Foundation; A copy of the license is included 
  in the section entitled ``GNU Free Documentation License''.
}
\bigskip
\bigskip
\end{normalsize}
\newpage
%_____________________________________________

% actual content starts here
\newpage

\includepdf[offset=10 0]{i/p/birdview_01}
\includepdf[offset=10 0]{i/p/birdview_02}
\includepdf[offset=10 0]{i/p/birdview_03}
\includepdf[offset=10 0]{i/p/birdview_04}

%___________________
% CHAPTER BACKGROUND

\includepdf[offset=10 0,pagecommand={
\pdftitle{background}}]
{i/c/chapter_background.pdf}

\begin{quote}
``At the Academy of Media Arts, art, technology, and science work
together for mutual enhancement.  Different ways of thinking meet:
theory encounters practical design, technological programmes and
artistic imagination combine.''\footnote{from the information flyer 
of the Academy of Media Arts, Cologne}
\end{quote}

The interactive sound installation \emph{Offener Schaltkreis} is
actually a result of such a meeting of two different programmes within
the KHM: \emph{Hybrid Space} and \emph{OSFA}.

The \emph{Hybrid Space} was founded by Prof. Frans Vogelaar within the
media design department.  ``A new interdisciplinary field of design,
researching the transformations of architectural, urban/regional space
of the emerging `information age', explores the dynamic interaction of
architecture/urbanism and the space of mass media and communication
networks. It develops scenarios for the interplay of public urban and
public media space.''\footnote{http://hybridspace.openkhm.de}

The \emph{OSFA} series of workshops introduced by Martin Rumori is
connected to Klanglabor within the department of arts and media
studies.  \emph{OSFA} translates to ``open source for arts'' and
emphasizes on all aspects for using open source technology for
artistic purposes.

\emph{Offener Schaltkreis} is experienced by putting freely placeable
speaker-cylinders on a labyrinth created out of open copper tracks.
Since these tracks carry electrical audio signals, underlying sound
layers become audible.  This simple principle is derived
from another project, created at about the same time at KHM:
\emph{Talking Cities Radio}\footnote{http://hybridspace.openkhm.de/2006/}.  
While \emph{Talking Cities Radio} is an interface for the audible 
content of an exhibition, \emph{Offener Schaltkreis} aims to 
be a sound installation whose aesthetical criteria were entirely 
developed collaboratively from scratch.\\

\vfill
\begin{center}
  \epsfig{file=i/v/cupcuts, width=.5\textwidth}
\end{center}
\vfill

%__________________

%________________
% CHAPTER CONCEPT

\includepdf[offset=10 0,pagecommand={
\pdftitle{concept}}]
{i/c/chapter_aesthetics.pdf}

In a city the acoustic impressions differ from place to place, just like
inhabitants and surroundings are different. Every neighbourhood has
its characteristics and on the way through a city not only the
visual, but also the acoustic environment is constantly changing.   

Within this installation we wanted to underline the simultaneity of 
diverse environments.
The juxtaposition of heterogeneous spheres through the simple arrangement 
of audio sources, as the translation of what inhabitants of a city 
face on a daily basis. A heterotopia, not in a strict foucaultian sense, 
but as the coexistence and interference of places, in this case 
represented through audio sources. 
The experience of an urban environment is downscaled and transferred 
into a room. An experience that depends on the activity of the 
perceiver and his will to explore his environment.

\begin{quote}
``They wander through the sectors of New Babylon seeking new experiences, 
as yet unknown ambiances. Without the passivity of tourists, but fully 
aware of the power they have to act upon the world, to transform it, 
recreate it.''\footnote{Nieuwenhuis, Constant: New Babylon - a nomadic town}
\end{quote}

Through putting the speaker-cylinder on the
tracks a specific place of sound is created, which uses the copper as
a source for its emission and therefore for its sensual manifestation.
But this mentioned place is not connected to a special place on the map.  
It is not static but in a permanent change.
Free positioning of the speaker-cylinder allows the visitor to create 
his own soundscapes. Soundscapes, which open themselves only through time 
and movement in space.

The system of copper tracks on the ground is derived from the
transportation networks of a city.  This fact made it obvious from the
beginning, to work with sounds and noises of the city, including their
transformations and synthetic imitations.  For every copper track an
individual piece of sound has been created from collected sound
material.

The installation is constantly playing.  For every track a virtual
read head loops in various speeds through a given sound piece.  Every
track includes four parts, which create, while playing all tracks
together, changing auditory scenes.  

\emph{Offener Schaltkreis} reacts depending on
the manner in which the speaker-cylinders are used: if nothing is
moved, the sounds stay calm and soft, but if cylinders are
repositioned, the currently played sound material is modulated by
increasing speed, pitch and velocity.

If nothing happens during a few minutes, the installation starts
cooling down, back to the quietest, lowest level, where it remains
sleeping: just like every acoustic space sleeps while nobody is there.
As soon as a single cylinder is moved during this state, the sound-output of
all speakers suddenly jump to a higher level of activity.  Thus, they
give the impression of a social structure: a sensitive, pulsating,
constantly shifting body, built with sound.

\includepdf[offset=10 0]{i/p/makeart_overview01}
\includepdf[offset=10 0]{i/p/makeart_overview02}

%________________

%__________________
% CHAPTER TECHNICAL

\includepdf[offset=10 0,pagecommand={
\pdftitle{technical}}]
{i/c/chapter_technical}

\begin{center}
  \epsfig{file=i/lac/khm-osk-lac-flowdiagram-1, width=.35\textwidth, angle=90}
\end{center}
\vspace{4mm}

A Linux PC with a multichannel audio interface drives the openly
installed copper tracks (mass and signals). The freely movable
speaker-cylinders also have open copper contacts at the bottom so that
placing them on the tracks connects the amplified audio signals to the
speakers.

The audio recordings are played back by a \emph{pd} patch\footnote{Miller 
Puckette. About Pure Data. The Pure Data Portal.\emph{http://puredata.org}, 2006.}.  
The patch is freely available at http://osk.openkhm.de.  
It reads the materials in progressing loops, playing repeatingly with 
forward-moving loop markers. That kind of ``macro-granular synthesis/sequencing'' 
creates a diffuse sound that morphs between different areas of the recordings, 
presenting ever-changing sound facets.

The interactive mapping of the visitor's activity to sound shaping
parameters like volume, ``loop'' length (or ``macro grain length'')
and thus pitch and speed is done directly in each track's player
instance.

The more the system is stimulated (up to a certain point), the less
the actions of the visitors are taken into account.  This kind of
damping makes it hard to reach the defined maximum value, allowing for
soft boundaries of the dynamic range.  The lower end of the dynamic
range represents the above-mentioned ``sleeping''.  In this state, the
least activity on an arbitrary speaker leads to a sudden high increase.

In order to accomplish the interactive mapping, it is necessary to
track the visitors' actions.  Therefore discrete ``put'' and
``remove'' events are generated based on electrical measurements on
the copper tracks.

Besides the actual audio content signals, all tracks carry an
inaudible 20 kHz sine signal at constant amplitude.  This is used as a
reference signal for counting the amount of speakers that are placed
properly on the copper tracks.  The sum of the audio and the reference
signals is fed back into the corresponding \verb|adc~| inputs of
\emph{pd} where the 20 kHz sine signal is isolated.

\vspace{7mm}
\begin{center}
  \epsfig{file=i/lac/khm-osk-lac-signals-1, width=.7\textwidth}
\end{center}
\vspace{4mm}

When no speaker is placed on a specific track, the feedback signal of
that track will be at $-\infty\ db$ in amplitude, since the electrical
circuit is simply not closed.  In the arrangement, we avoided adjacent
tracks of the same kind, thus making sure that masses and signals are
always alternating.  As a result, a proper speaker connection is
guaranteed at any arbitrary position of the installation.

With the first speaker placed, the amplitude of the isolated feedback
signal jumps to a certain value well above zero.  Due to electrical
laws, this level $U_{sens}$ converges logarithmically towards the
amplitude of the fed-in signal when more speakers are added to the
same track, because all speakers will be situated in a parallel
connection ($U_{sens} = 1 - \frac{1}{1 + n}$).\footnote{The more
  speakers are placed in that parallel connection, the more the
  equivalent resistance of the floor installation is decreased
  resulting in an increase of $U_{sens}$ on that voltage divider.}
This exponential graph can be transformed in order to get the discrete
integer value of placed speakers.

The tracking of the visitors' activity is accomplished by interpreting
this number on a per track basis.  
The change of this quantity is either an addition or removal of speakers.  
As described above, this information is then used as a parameter for 
the sound generation within \emph{pd}.

\vspace{25mm}
\begin{center}
  \epsfig{file=i/lac/khm-osk-lac-electrical-1, width=.6\textwidth}
\end{center}
\vspace{4mm}

\clearpage

% PD PATCHES %

{\renewcommand{\footnoterule}{\rule{0pt}{0pt}} % REMOVE FOOTNOTERULE

\includepdf[scale=.75,offset=0 40,frame=true,pagecommand={
\annotation{Patch 1:\\
For each copper track on the floor a unique instance of a
player abstraction is running.
}}]
{i/v/patches1_farm}

\includepdf[scale=.75,offset=0 40,frame=true,pagecommand={
\annotation{Patch 2:\\
The player abstraction is moving through the loaded wave in
slowly progressing loops, creating a macro-granular
synthesis/sequencing sound that varies in pitch and speed.
}}]
{i/v/patches2_player}

\includepdf[scale=.75,offset=0 40,frame=true,pagecommand={
\annotation{Patch 3:\\
For each track a monitor abstraction is loaded as well, in order to
count the number of placed speaker-cylinders on a per-track
basis.
}}]
{i/v/patches3_locals}

\includepdf[scale=.75,offset=0 40,frame=true,pagecommand={
\annotation{Patch 4:\\
Each placement or removal of speaker-cylinders is recognized by
the patch and fed into a ''leaky integrator'', whose amount is
increased by these events and decreased by time. This amount
controls the changes in pitch and speed for the player-abstractions.
}}]
{i/v/patches4_liki}

\includepdf[scale=.75,offset=0 40,frame=true,pagecommand={
\annotation{Patch 5:\\
To give the visitors clear feedback about their actions, a short
notifying sound is played for each proper placement of a
speaker-cylinder.
}}]
{i/v/patches5_notify}

} % REMOVE FOOTNOTERULE

% PD PATCHES %%%%%%%%%%

\includepdf[offset=10 0]{i/p/rohr_top.pdf}
\includepdf[offset=10 0]{i/p/rohr_bottom.pdf}
\includepdf[offset=10 0]{i/p/rohr_view.pdf}

\includepdf[offset=10 0]{i/p/makeart_machine.pdf}

\includepdf[offset=10 0]{i/p/makeart_connections.pdf}
\includepdf[offset=10 0]{i/p/makeart_behind.pdf}

\includepdf[offset=10 0]{i/p/lndmk_circuitboard.pdf}
\includepdf[offset=10 0]{i/p/makeart_circuitboard.pdf}

%__________________

\includepdf[offset=10 0,pagecommand={
\pdftitle{lange nacht der museen\\ \vspace{0.1\lineheight} \LARGE{köln 2006}}}]
{i/c/chapter_lndmk}
% \includepdf[scale=.990,offset=-6 0]{i/c/chapter_lndmk.pdf}

\includepdf[offset=10 0]{i/p/lndmk_setup06.pdf}
% \includepdf[offset=10 0]{i/p/lndmk_setup02.pdf}
% \includepdf[offset=10 0]{i/p/lndmk_setup03.pdf}
\includepdf[offset=10 0]{i/p/lndmk_setup05.pdf}
\includepdf[offset=10 0]{i/p/lndmk_setup04.pdf}
\includepdf[offset=10 0]{i/p/lndmk_opening01.pdf}
\includepdf[offset=10 0]{i/p/lndmk_opening02.pdf}
\includepdf[offset=10 0]{i/p/lndmk_overview01.pdf}
\includepdf[offset=10 0]{i/p/lndmk_overview02.pdf}

\includepdf[offset=10 0,pagecommand={
\pdftitle{makeart\\ \vspace{0.1\lineheight} \LARGE{poitiers 2007}}}]
{i/c/chapter_makeart}
% \includepdf[scale=.990,offset=-6 0]{i/c/chapter_makeart.pdf}

\includepdf[offset=10 0]{i/p/makeart_impressions.pdf}
\includepdf[offset=10 0]{i/p/makeart_opening01.pdf}
\includepdf[offset=10 0]{i/p/makeart_opening02.pdf}

\includepdf[offset=10 0]{i/p/makeart_setupoverview01.pdf}
\includepdf[offset=10 0]{i/p/makeart_setupoverview02.pdf}
\includepdf[offset=10 0]{i/p/makeart_totale01.pdf}
\includepdf[offset=10 0]{i/p/makeart_totale02.pdf}

{\renewcommand{\footnoterule}{\rule{0pt}{0pt}} % REMOVE FOOTNOTERULE

\includepdf[scale=0.95,offset=5 10,pagecommand={
\annotation{
qt\_proofsheet makeart2007\_timelapse.mp4 makeart2007\_timelapse.tga \\
--spacing=0 --title=0 --timecode=0 --framesize=266,200 \\
--framesperrow=14 --framerate=0.4 --duration=5,595
}}]
{i/p/makeart_timelapse01}

\includepdf[scale=0.95,offset=5 10,pagecommand={
\annotation{
This is a sequence of 125 images that are taken from a timelapse video 
(http://osk.openkhm.de/repository/video/osk\_makeart.mp4) that spans 
from April 2nd to April 9th at makeart 2007 in the Maison d'Architecture Poitiers. 
The construction and disassembly time as well as the whole festival period is shown. 
Please note that the disassembly period is running slower and night times have been removed.
}}]
{i/p/makeart_timelapse02}

} % REMOVE FOOTNOTERULE


Since this work originated out of the seminar series \emph{OSFA}, the use of open 
sourced software was indeed one of the few fixed preconditions for developing this 
project.

The installation tries to empower the visitors or listeners to act on
their own.  We try to give them the freedom to use the installation in
any way they wish.  This attempt finds its counterpart in the use of
free software, within the empowerment of using and modifying software
in any way we choose.

Of course, also the economic aspect of using open source software is
important to its use in the context of media art, since it sometimes simply means: 
``free as in free beer''.

Open Source is generally available on more platforms than proprietary
software, since everybody can hack a port to his favorite system, thus
complying more easily to his predefined requirements.

Works that are developed in an academic context, like \emph{Offener Schaltkreis}, 
are often intended to be presented as a publication that documents more than 
just the result -- but also the path that was taken during the design process.  
Obviously, presenting code as open source is an almost obligatory requirement 
for this way of highlighting processes besides the result itself.  
Furthermore, the open source community provides proven systems for licensing and 
sharing the author's work.

\vfill
\pagebreak[4]

%%%%%%%%%%%%%%

	\noindent
	Our thanks go to Martin Nawrath, technical staff of the KHM, 
	Prof.\smallspace{}Anthony Moore, Head of Klanglabor at KHM, 
	Tobias Beck, Michael Thies, Anselm Bauer and the entire 
	\emph{Talking Cities Radio} team.

\vfill
\noindent

\noindent
\textbf{Offener Schaltkreis} 

\begin{flushleft}
\begin{list}{}{}


 \item\textbf{Project Team}: Christoph Haag, Martin Rumori, 
 				Franziska Windisch and Ludwig Zeller. 
 \item \textbf{Academic Support}: Prof.\smallspace{}Anthony Moore
 \item\textbf{Project Support}: Tobias Beck, Micha Thies, Anselm Bauer, 
 				Frank Barknecht
 \item\textbf{Technical Support}: Martin Nawrath

\end{list}
 
\medskip

\begin{minipage}[t]{1.02\textwidth}
	\noindent
	\textbf{Special Thanks} to the entire Talking Cities Radio team, 
	goto10 and the many people at MakeArt festival, 
	who helped us scrub the floor at Maison d'Architecture...
\end{minipage}


\end{flushleft}

\vfill
\noindent
Offener Schaltkreis continues the original concept of Talking Cities Radio.

\medskip
\noindent
\textbf{Talking Cities Radio} 

\begin{flushleft}
\begin{list}{}{}


 \item\textbf{Project Leader}: Prof.\smallspace{}Frans Vogelaar
 \item\textbf{Project Management}: Christoph Haag und Ina Krebs
 \item\textbf{Project Support}:
	Andreas Muxel (light concept and design), 
	Isabelle Niehsen (graphic design), 
	Heiner Schilling (photography), 
	Therese Schuleit
 \item\textbf{Technical Support}: Martin Nawrath, Heinz Nink, Martin Rumori
 
\end{list}

\medskip

\begin{minipage}[t]{1.02\textwidth}
	\noindent
	\textbf{Talking~Cities~Radio} was realised in cooperation with
	\textbf{urban~drift~productions~Ltd.} at the Department of 
	Hybrid Space, Academy of Media Arts, Cologne.
\end{minipage}


\end{flushleft}


\vfill
\noindent

\begin{figure}[h]
 \center\epsfig{file=i/v/logo_hybrid+khm+klab+labIII.pdf, 
		width=1.02\textwidth}
\end{figure}


%%%%%%%%%%%%%%

\includepdf[offset=10 0]{i/p/makeart_cleanup01.pdf}
\includepdf[offset=10 0]{i/p/makeart_cleanup02.pdf}


% IMPRESSUM %

\addtolength{\evensidemargin}{-.3in}
\noindent
\begin{minipage}[t]{1.1\textwidth}
% \begin{minipage}[t]{5.4in}
\noindent
\textbf{Bibliographic information published by the Deutsche Nationalbibliothek}\\
The Deutsche Nationalbibliothek lists this publication in
the Deutsche Nationalbibliografie; detailed bibliographic data are available in 
the Internet at http://dnb.d-nb.de. 

\bigskip

\noindent
\begin{Large}\textbf{Der offene Schaltkreis}\end{Large}

\medskip
\noindent
Copyright \copyright{-0.4\lineheight} % SPACING FRONT
			{-1}{-6} % POSITION
			{height=1.5\lineheight} % SCALE
			{1.3\lineheight} % SPACING BACK
2005-2008 
C.\smallspace{}Haag, 
M.\smallspace{}Rumori, 
F.\smallspace{}Windisch, 
L.\smallspace{}Zeller

  \begin{list}{}{}
  \item 
  Permission is granted to copy, distribute and/or modify this document
  under the terms of the \textbf{GNU Free Documentation License}, 
  Version~1.2 or any later version published by the Free Software Foundation;
  \end{list}

  \noindent
  Any of the trademarks, service marks, collective marks, design rights, 
  personality rights or similar rights that are mentioned, used or cited 
  in this book are the property of their respective owners. 
  Their use here does not imply that you may use them for any other purpose 
  other than for the same or a similar informational use as contemplated 
  by the original authors under the GFDL licensing scheme.

% \bigskip
% \noindent
% Printed in the UK by \textbf{Lightning Source} 

\bigskip
\noindent
\begin{Large}\textbf{ISBN 978-3-00-027885-3}\end{Large}

\end{minipage}

\vfill

\begin{flushleft}

	\bigskip
	\noindent
	This document was set in \LaTeX{}.\\
	\noindent
	\textbf{Sourcecode} and \textbf{rendered pdf} file 
	are available at \textbf{http://osk.openkhm.de}.

% 	\lstset{language=TeX}
% 	\begin{lstlisting}
% 	This document was set in \LaTeX{}.\\
% 	\bigskip
% 	\noindent
% 	\textbf{Sourcecode} and \textbf{rendered pdf} file 
% 	are available at \textbf{http://osk.openkhm.de}.
% 	\end{lstlisting}

\end{flushleft}

% \noindent
% Typed with \textbf{NotCourier-sans}.\\
% Copyright \copyright{-0.4\lineheight} % SPACING FRONT
% 			{-1}{-6} % POSITION
% 			{height=1.5\lineheight} % SCALE
% 			{1.3\lineheight} % SPACING BACK
% 2008 \textbf{OSP}\smallspace{}(Ludivine Loiseau).
% 
% 	  \begin{list}{}{}\item
% 	  \textbf{NotCourier-sans} is a re-interpretation of Nimbus Mono 
% 	  and was designed in Wroclaw at the occasion of LGM 2008.\\
% 	  Download at http://openfontlibrary.org/media/files/OSP/309
% 	  \end{list}

\bigskip
\noindent
  LAFKON Publishing GbR\\
  Kitzenmarkt 8\\
  86150 Augsburg\\
  
\smallskip
\noindent
\epsfig{file=i/a/utils/graphics/logos/lafkon, 
	height=2.5\lineheight
	}

\includepdf[scale=0.9,offset=10 0]
{i/a/utils/licenses/gfdl/GNU_Free_Documentation_License_Version_1-2.pdf}



% IMPRESSUM %



\includepdf{i/a/utils/graphics/blank/white.pdf}


\end{document}