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Since reading Barker's Weaveworld by chance around 20 years ago, which I loved, I've been in and out of the Barker worlds. This year, thinking I should go back in time, I read his first novel, The Damnation Game. The book was well written but also made me wonder why I am reading these horror, supernatural books.
I did a workshop for DMLab Colchester on the basics of biofeedback art and have demonstrated an interface where we mapped our pulse with the Pulse sensor, via the Arduino board to sounds in SuperCollider.
Most, hogy életem felét már lassan külföldön töltöm, néha próbálom a nemzeti identitásomat kutatni, talán gyógyítani is. Reméltem, hogy Csernus könyve segít majd. Segített is, de nem úgy, ahogy arra számítottam – és lehet, hogy pont ez volt az író terve: hogy konfrontálódjak néhány hülyeségemmel ... meg az övéivel.
After reaching out to my friend, who used to write English poetry, I received two books in the post from him. One was Carey's book, which we hoped would give me a crash course on poetry. In short, I liked it but also expected more; a broader overview and more insights on how and why schools or movements of poetry changed. Still, I learnt a lot.
I found Barker's Weaveworld by chance around 20 years ago and loved it. This year, I read another of his works, Galilee, which had less fantasy and perhaps more romance. This review contains spoilers, so it's mainly for people who have read the book and want to compare notes.
This is a quick update on the work I have been doing as part of my research within the EAD team, where my focus has been on how to use sound to convey cinematographic elements.
Since last November, Anastasia Chernysheva (UCLA) and I have been co-creating the Biofeedback Art Research Network (BARN). We want to build a global network of people who study the connections between biofeedback and art. To get to know each other, I thought it would be best to interview people in writing. To demonstrate a potential narrative, I started with myself.