Ghost Machine

A project by Magda Ty┼╝lik-Carver and Andrew Prior

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Ghost Machine: Invocation of Contingent Others

We are concerned here with production of ghosts. But what we really want is for them to appear, so we can sense them, we think.

 

 

This is a task that requires skill and knowledge of the spectral. Sensibility of another kind is needed, although we are not sure we've got it.

For now we have to keep reminding ourselves not to look so we aren't deceived. We are amaterus with only a hope that our desires can
summon them.

And we've got the machine.

 

We want to talk to ghosts. No, we want them to talk to us and we want to make sure that what we hear is not muted growling of zombies.

 

And what we hear should only keep us attentive to the scent of shapes and ideas. 'And them maybe we see them?' you ask.

 

 

 

We are haunting and we are desperate. We think we are so radical, but we end up dedicated to confusion. Yet, we are searching and again we are lost in malfunction. Thank gods it's still here. Encouraged we bring another page. And we hear, because we listen so hard. We do want to understand, more so because it is out of the question, though it all seems so familar...

And we stop with the machine, ready for the echo to come back. That's our moment of melancholy. We know we are late again and again it feels good.

 

 

 

 

'Out of concern for justice' he says. We return. We are all here. And we read.

 

 

 

 

The ghosts of the page and of the narrative; the traces of sound and colour.

The machine looks at a small square proceeding from left to right, top to bottom - rading - strating at the first page and continuing through.

 

Coded to do a stupid thing. To follow a simple translation.

As it reads, some of the colours within the square are mapped into sound frequencies, whilst others change the volume of the tones, altering the textures of the sound.

Whatever is read at the same time fills the page; whether the colours add together or detract, mix or separate - and in each case timbre change potentially the tone and texture change.

A close-up of whatever is being scanned (or read) at the time is superimposed over the whole page; which produces the overall image. The way in which it is superimposed (whether the pixel values are aded together, or subtracted, or multiplied etc) can be controlled by the user of the program; as can the scan speed and the volumes of each oscillator.

 

In the end then the book is both read, and performed at once.