Tselem

Alexander Cohen

Proceedings of the International Conference on New Interfaces for Musical Expression

Abstract

Tselem is the latest in a series of performances featuring the CrackleMask. Tselem confronts latent eschatological belief systems in HCI through esoteric ritual. Eschatology refers to the study of apocalypse in theology, where apocalypse is not an ending, but a revelation of hidden truths that disrupt an existent social order. Eschatological belief systems are expressed in HCI through the notion that technological innovation will solve humanity’s problems. In the context of esoteric ritual, the CrackleMask serves as a conduit through which embodied histories of spaces may reveal themselves or even possess the performer. The CrackleMask is a wearable instrument that implements Michael Waiswisz’s Cracklebox (Kraakdoos) as a mask form. The Cracklebox circuit takes advantage of the now obsolete LM709’s idiosyncrasies by connecting the LM709’s external frequency compensation, power, and output pins to touch and pressure sensitive contact points on human skin. The circuit produces a chaotic high frequency signal that is brought down to the audible range by using the human body’s capacitive and resistive properties. Crackleboxes are usually implemented in box form with contact points placed on the top. The CrackleMask has contact points on a mask's exterior with a speaker turned inwards towards the user’s mouth, advantaging the mouth’s natural ability to act as a formant filter. The contact points mask's exterior require the performer to touch their face, generating a theatrical performance. A wireless microphone is installed inside the mask. The signal from the wireless microphone is sent to a computer running Supercollider for live processing. The CrackleMask is currently in its second version. The first version was constructed from a flat piece of wood, flattening facial features in an aesthetically interesting but physically uncomfortable manner. The second version is constructed of plaster molded to fit the user's face.

Citation

Alexander Cohen. 2022. Tselem. Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: 10.21428/92fbeb44.79e363a5 [PDF]

BibTeX Entry

@inproceedings{nime2022_music_19,
 abstract = {Tselem is the latest in a series of performances featuring the CrackleMask. Tselem confronts latent eschatological belief systems in HCI through esoteric ritual.  Eschatology refers to the study of apocalypse in theology, where apocalypse is not an ending, but a revelation of hidden truths that disrupt an existent social order. Eschatological belief systems are expressed in HCI through the notion that technological innovation will solve humanity’s problems. In the context of esoteric ritual, the CrackleMask serves as a conduit through which embodied histories of spaces may reveal themselves or even possess the performer. The CrackleMask is a wearable instrument that implements Michael Waiswisz’s Cracklebox (Kraakdoos) as a mask form. The Cracklebox circuit takes advantage of the now obsolete LM709’s idiosyncrasies by connecting the LM709’s external frequency compensation, power, and output pins to touch and pressure sensitive contact points on human skin. The circuit produces a chaotic high frequency signal that is brought down to the audible range by using the human body’s capacitive and resistive properties. Crackleboxes are usually implemented in box form with contact points placed on the top. The CrackleMask has contact points on a mask's exterior with a speaker turned inwards towards the user’s mouth, advantaging the mouth’s natural ability to act as a formant filter. The contact points mask's exterior require the performer to touch their face, generating a theatrical performance. A wireless microphone is installed inside the mask. The signal from the wireless microphone is sent to a computer running Supercollider for live processing. The CrackleMask is currently in its second version. The first version was constructed from a flat piece of wood, flattening facial features in an aesthetically interesting but physically uncomfortable manner. The second version is constructed of plaster molded to fit the user's face.},
 address = {Auckland, New Zealand},
 articleno = {19},
 author = {Alexander Cohen},
 booktitle = {Proceedings of the International Conference on New Interfaces for Musical Expression},
 doi = {10.21428/92fbeb44.79e363a5},
 editor = {Raul Masu},
 issn = {2220-4806},
 month = {jun},
 title = {Tselem},
 track = {Music},
 url = {https://doi.org/10.21428/92fbeb44.79e363a5},
 year = {2022}
}