White Sands, New Mexico12.13.2008This is about the fifth time that I drove around for an hour or two searching for a campground that may or may not exist and that may or may not be open for the winter.I got to the White Sands National Park just in time for a fantastic sunset and with the complete assumption that there would be a simple campground. No. None. I think there are hike-in camps, but again, like back in Texas at the Enchanted Rock (that I was so excited to camp at and had pulled up right at twilight as well) there was no campground. The nearest place was twenty miles back east from where I came. Annoying. The GPS got confused and sent me through some massive dirt roads. Straight into an unmarked dead-end. I had to drive back out of that mess and onto the main road to follow the little brown signs to the Oliver Lee New Mexico State Campground… it was dark by this time. Pitch, New Mexico, desert dark.Prior to this search for sleep I actually did go into the white sands. Deep in. Sand everywhere. It’s the Sahara. It’s the Gobi. It’s the Kalahari. At least according to the movies. A number of films are shot out there and based… not there. (There was a film being shot there when I entered the park… something with Clooney and based… in the middle-east, not the southwest.) It’s the perfect location, the light is fantastic and the scenery is clean and magnificent. For the actors the sand in the eyes either adds to the character or makes the day impossible. The wind blows the fine light grains horizontal.It is disorienting because there are no trails, no paths, so with the turbulent wind (that could hold the weight of a standing body) there is no way to find your way back. I enjoyed the textured surface. It was the first hike I’ve ever taken barefoot.*Note: This is the last entry from my... blogy blog... http://id-iloveamerica.blogspot.com/
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Posted by Ernest Meyer on December 22, 2008 at 11:00pm
After installing Max 5.0 and opening it the first time, the first window to appear is a striped empty text display window named the "Max window." many programmers would more likely call it the "debugging window," and sometimes it's called the "message window" instead because, obviously, all the application's windows are, in a broader sense, Max windows. So a different name that that which appears in the window menu is often useful for clarity. I will call it the message window. However such renaming in the software itself would probably be unwise, as it would cause more confusion in the documentation.The first appearance of this message window may be a little perplexing to some novices (including me), as it is not intended to do anything at all except display messages. Most programming software displays debugging information only after one has actually executed a program. But the documentation is proud to point out that Max 5.0 was redesigned as an MDI application instead of SDI as was its predecessor. Hence, the first window is an MDI Max window called the Max Window, which is the message window, and not the patcher window.Here I pause significantly. If we need to be taught the difference is between 'MDI' and 'SDI,' the documentation provides an excellent explanation. I would be trivializing it to say that Max/MSP 5.0 has more than one window, whereas 4.0 had child windows within one parent window. Now if this application were intended for people without programming experience, the documentation would not be interested in telling us that it is an MDI application, and explaining in detail the difference between MDI and SDI. The documentation would simply state that Max/MSP has multiple windows.Therein, basically, before even the first design is open, one already has plenty of forewarning as to the experience of learning Max/MSP. If you previously have programming experience, it will not be surprising. If you are wanting to learn how to program software, well...it's a fun way to learn some fundamental programming skills, I guess; and there is no way one could do anything in Max without those skills.Finding HelpThe first thing we need to do after opening the application is look at the online help.Max/MSP has much more documentation than Reaktor, and the documentation is actually written in Max/MSP itself. We can 'unlock' the Max/MSP documentation and copy chunks into our design window (which is called a 'patcher window'). This is a wonderful way to do things, and it's great to have lots of online documentation, but it doesn't print very well, and the extent of the documentation is so great it in fact is daunting at first.Yes, there are dozens of long online tutorials. They are quite thorough and fully cross linked. However even experienced people in Max/MSP (often called 'Maxers') recommend instead starting with the documentation from Peter Elsea ("PQE") who is a Maxer Professor at the University of California at Santa Cruz (UCSC). His FTP archive is here:ftp://arts.ucsc.edu/pub/ems/MaxTutors/These are really excellent tutorials, and they also print well, because they are formatted as PDFs with page numbers and everything. The tutorials make mention of his own "LObject" library additions, but I don't advise installing them for a while. The 'factory-installed' library is quite large enough to keep us busy for a long time.The Patcher Window and the First ObjectBesides the amount of it (which is really a blessing), the only problem with the tutorials is that they sometimes assume a teacher is also at hand to demonstrate the described procedures. But actually, there were only a few simple additional facts I needed to know before I could get started.Once the message window opens, the first thing is to open a "New Patcher" window (from the message window's "File" menu). A window opens with a reassuring instruction in gray to double-click the background:
Double clicking on the window background opens the new Max/MSP 5.0 object palette. These first two clicks display a small set of the most common objects:
This palette appears to have changed somewhat over time--by the time you read this it may be different again. In the current version there are tabs displaying pretty icons for a small subset of the objects. You may learn a few of these placements and get to them directly via the palette, but the palette catalog is too small a subset to be useful on all but a few occasions. The most important part is the "new object," icon which is in the top left corner of the palette's "All" and "Recent" tabs. Clicking on it inserts an empty box on the page.Getting to the Object MenuIt's not unusual, I've learned, to get stuck here for a while, because the interface again has changed a bit from one version to the next, and a very precise set of steps are required which are described differently depending on when the description was written. For the current version, let's assume you've already inserted a new unnamed object as described above:1. Make sure the patcher window has focus, that is, that the window is on the top of all other windows. On Windows, this means selecting the window with the mouse ('first click'). If another overlaps and the desired window is in the back, you have to click on the title bar. I learned very quickly to lay out windows so they do not overlap, as sometimes it can be difficult to get to a title bar. There are some utilities (I think Xmouse in the Windows Powertoys suite is one) which switch focus to the current window automatically. If you plan to make large patches (which will have many sub-patch windows) it would be a good idea to install such a utility. It can be aggravating to click or reclick multiple times depending on whether a window has focus.2. Now we need the text cursor inside the object. If the text cursor is not flashing inside the box, click again inside the rounded-edge rectangle of the new object. When the object has not been named yet (there is no text in the rectangle), only one click is required ('second click'). If there is already text in the rectangle, that second click selects the text but does not position the cursor in it, so click yet again ('third click') for the cursor to appear in the text.3. Now it is finally possible to see the object menu for an already existing object (or after up to five clicks when inserting a new object). Note there can be between one and five clicks to get to this point (after a while, it does become more of a reflex action, but it has to be learned). Now move the mouse over the left edge of the rounded rectangle object, and when in exactly the right spot, a blue circle with white lines inside it appears.
4. While the blue circle is visible, move the mouse carefully so it points within the little circle. Now left-click again. The object menu appears! Hurray! I note here, my intuitive action was to right-click in the object for some reason, but that opens the 'inspector window' instead. But then I realized it was all left clicks to this point, up to six of them depending on the situation, and that wasn't so hard to remember. The inspector window looks like a filled in message window, and if it appears, it's best to close it right away, because it is not focus savvy (a future topic).5. But now, do not click on the object menu! Instead, hover over it to open the submenu! Then move the mouse over the submenu and click there to select an object!
Now we've inserted our first object from the object menu. It can take up to seven clicks, and several mouse manipulations. Now maybe you think that ain't so much, but I think we deserve a coffee break. And I'd think it's a good idea to practice opening patcher windows, inserting new objects, and then clicking in them to change them at least a couple of dozen times before trying to make an actual design. But maybe you're more talented at mastering click sequences than me, and you're ready to plough ahead already.
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Posted by David Bithell on December 20, 2008 at 3:33am
Hi all - I just want to pass on an employment opportunity at my institution, the University of North Texas. We are developing an Initiative for Advanced Research in Technology and the Arts (http://iarta.unt.edu) and have been approved for an open rank faculty search. Below is a short description of the position - for complete details, visit http://iarta.unt.edu/employment/Feel free to contact me with any questions! - David-------------------------------The University of North Texas seeks nationally and internationally renowned applicants in two areas, to augment the newly formed Initiative for Advanced Research in Technology and the Arts (iARTA). Open-rank appointments are expected to begin August 2009.For the first area, a highly acclaimed artist is sought with significant research practices in interdisciplinary art making and the integration of emerging technologies into his/her body of creative work. For the second area we seek a renowned media systems designer/engineer whose research directions support and integrate with the collaborative goals of the iARTA research cluster.For complete details or to apply for this position please visit http://iarta.unt.edu/employment/Review of applications will begin January 15th, 2009 and will continue until filled or otherwise closed.-------------------------------
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All of us at the A.O. Movement Collective love that you're supporting our work by keeping in touch with us digitally! We want to keep bringing you innovative and exciting projects, and the number one thing you can do to make that a reality is to make a contribution - right here right now! We know that our supporters are students, artists, and revolutionaries - people who don't have wads of money to throw around - but think about this: if every member of this group donated just $10 (less than seeing a movie, proposing to your partner, or buying a new pair of jeans), we would have enough to self-produce an ENTIRE SHOW next year!All you have to do is CLICK THIS LINKhttps://dnbweb1.blackbaud.com/OPXDONATE/donate.asp?cguid=98B0A09F%2D9D5A%2D4653%2D9079%2D9CCCD7EB6251&dpid=7503and specify in the form that you want to donate to SARAH A.O. ROSNER. To donate by mail, and for more information on how we use donations, check out our website. It's tax deductible* and can officially be considered your "good deed", "act of charity", or "protest against lack of arts funding" for the week! Also, we'll be eternally grateful.*Sarah A.O. Rosner is a member artist of Dance Theater Workshop, Inc., a non-profit tax-exempt organization. Contributions in support of Rosner's work are greatly appreciated and may be made payable to Dance Theater Workshop, Inc., earmarked for "the Dance Theater Workshop member project of Sarah A.O. Rosner." A description of the work and current project activities for which such contributions will be used are available from Rosner or Dance Theater Workshop, upon request. All contributions are fully deductible to the extent allowed by law. (Note: A copy of Dance Theater Workshop's latest annual financial report filed with the New York State Department of State may be obtained by writing to the N.Y.S. Dept. of State, Charities Registration, 162 Washington Avenue, Albany, NY, 12231, or to Dance Theater Workshop, 219 West 19th Street, New York, NY, 10011)
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As we've finally decided upon a title for our piece in it, it seems this is a good time to mention the 4th Annual Phoenix Experimental Arts Festival. It'll be Friday-Saturday, February 6-7, at the Paradise Valley Community College Center for the Performing Arts. Armadillo Dance Project (that's us) has a work on the program again, just like last year. We call it and it's a solo dance with music, video, and interactive projections. Like last year's concert, there will be an eclectic group of dance and music pieces (a different program each night), including a live performance of Steve Reich's .
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Posted by Jessica Rajko on December 12, 2008 at 9:52pm
Hello everyone,I made a few documentation videos outlining Leonard at this point. The three videos are as follows:1. Putting Everything Together: Shawn tries on Leonard and I describe the next steps we will take to make Leonard wearable2. Leonard's Head: I describe construction of the head3. Leonard's Jaw: I describe construction of the jawI also added a few pictures since that seems to me a major theme.Leonard in stages...
Sewing Leonard's ears so that they pinch together:
Eye Issues: This is what it looks like when the Lycra pulls. I had this problem from over stuffing or not stuffing the eye socket enough. As you can see the whit Lycra ends up pulling in toward the eye and loosing its circular shape:
Just to give you a preview for the next blog, I am almost done adding the components of the costume that will make Leonard wearable. Hopefully you will see the costume completed and worn with out the aid of several hands holding things. Also, there has been a big twist in the Leonard plot, which I will describe next time - so keep your eyes peeled.My semester is almost over. It is my goal to have the costume completed before the semester is done. Then, I will be hiding in a dark room with a few fellow collaborators (namely Stjepan and Christopher) and we will be developing the sounds for the costume. All good stuff.Jessica
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Are you a dance blogger or someone interested in checking out other dance blogs? I invite you to get involved in a new initiative: Dance Bloggers
Shortly after I started blogging, I found the desire and the need to follow other dance blogs on a regular basis. I was eager to discover other dance bloggers and connect with them; I hoped that online, I might find a community feeling similar to what I had always enjoyed in the studio.Three issues arose as I explored the dance blogosphere from my initial vantage point:* It wasn’t always easy to find dance bloggers, even though we exist.* Once I found other dance bloggers, following their posts by entering their sites individually or sorting through my feed reader became very time consuming and tiring.* I still wanted to connect more easily to other dance bloggers and readers - especially since I was halfway around the world from most of the people I met online!I hope to see these issues resolved through the introduction of a new website that is bringing dance bloggers together: www.DanceBloggers.comEspecially if you have your own blog covering dance, I urge you to read on and submit your blog.What is DanceBloggers.com?DanceBloggers.com is a central hub for people who blog about dance in English. The site will help dance bloggers connect and follow the dance blogosphere; it will also allow people interested in dance and blogging to learn more about the field.How does Dance Bloggers operate?This site will aggregate feeds from participating dance blogs. The beginnings of each participating blog’s posts will automatically be displayed on the main page; when someone clicks on a post to read more, he or she will be redirected to the original blog. All participating blogs will have links in the “Contributors” section of our sidebar and in the Dance Bloggers Directory.What can you gain by tuning in to Dance Bloggers?* Follow: Subscribe to daily e-mails featuring teasers of posts from many dance blogs.* Connect: Become a friend of Dance Bloggers to connect and share thoughts on our wall (just like in Facebook).* Participate: If you are also a dance blogger, you can submit your blog and gain visibility.Want to support Dance Bloggers?Please share this with your friends via e-mail and Facebook!Full disclosure and thanks: My partner Tal and I started Dance Bloggers. Edited from my original post on Dance In Israel.I’m also grateful to Kristin Sloan and The Winger - a collection of dance professionals blogging on one site - which first hooked me into the larger dance blogosphere.
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Starting in PerformaticaApril 13th-24th, 2009agite y sirva calls for entries of videodance/dance for the camera/screendance pieces for its first edition in Mexico.Deadline: January 31st, 2009.We share the idea that videodance is born out of the exploration of movement on screen. We invite choreographies created for the camera, remakes for film/video of previous choreographies or performances, and animations based on movement composition.We invite short, mid and full length videodance pies produced since 2005. There isno limit to the number of pieces entered per organization or individual.For complete info please visit www.agiteysirva.comRead more…
Posted by Gilles Jobin on December 9, 2008 at 1:00pm
Hello!Cristian Vogel is selling his trusty Capybara... Really the very best sound design platform around. He made two massive soundtracks for my dance pieces, Double Deux and Text To Speech on this baby. Check out the soundIt has 5 extra DSP cards in it ( each card retails at 600USD) , plus the Flame firewire interface.the whole system, 1900 eurosplease forward this mail on to anyone you think might be interested...
Hello dance-techers,
Reminder!
Apply for the INTERFACING MOTION with Wireless Miditron Fall 2008 Contest
New deadline: December 31st 2008.
Read details here:
http://www.dance-tech.net/page/interfacing-motion-with
You can also watch an Skyped interview with Jessica Mumford, winner of the INTERFACING MOTION Spring 2008 here:
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The PLAY REC, is a collective exhibition of videodance, which to come about in December 5th, 6th, and 7th 2008 in the Cine-teatro Apolo in Recife. The event, is also a meeting to stimulate the creative work between the video maker and the performer. In the program is the videodance "DEGRAIS" maded by Adriana Carneiro and Carolina Seabra.
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Second edition of the virtual cycle SOBRENATURAL6 new pieces specially created for the net: video creations, documentaries, short films, tributes, lies, manifestoes... from 12th December at: www.laportabcn.com.( see edition 2007)http://laportabcn.com/laportabcn/Ciclo.do?id_cicle=10La Porta is an artists collective based in Barcelona founded in 1992. Since then, it has generated activities and context for creating, thinking about and investigating contemporary performance based on the body and movement - works, artists and experiences that are changing the way the body and dance are presented and represented.
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SIGGRAPH Asia Archive in Second Life Project was completed now.This is an art project that collects photographs concerning past "ACM SIGGRAPH Emerging Technlogy" and makes an 3-D image archive in Second Life, aiming at this year's SIGGRAPH ASIA 2008. 600 photographs or more were finally collected.It is created by Hidenori Watanave (Supervisor of Photon,Inc. / Associate Professor of Tokyo Metropolitan University), and conception by Tomoe Moriyama (SIGGRAPH ASIA Art Gallery and Emerging Technology chair / Museum of Comtemporary art Tokyo). Please refer to the lower side of this article about cooperators.It will be exhibited in SIGGRAPH Asia Art Gallery (Singapore, Dec.10 - 13 2008). I will make a machinima (movie) of this project and upload soon.SLurl:http://slurl.com/secondlife/nikkeibp/188/151/62All photographs of SIGGRAPH were taken and granted by:Jacki Morie - SIGGRAPH 1993 and 1994, The Zone And Neuro Baby/ The EdgeBrian Blau - SIGGRAPH 1996, Digital BayouKathryn Saunders - SIGGRAPH 1999, Millennium MotelToshihiro Konma - SIGGRAPH 2002,2003,2005,2006,2007 and 2008, Emerging Technology / Art Gallery / Kids / NewTech / Slow ArtThank you very much for their contribution!(SIM sponsor: Nikkei Business Publications,Inc.)SLurl:http://slurl.com/secondlife/nikkeibp/188/151/62Read more…
WATCH PROGRAM INTRODANCE TECH is a program that features the highlights of the dance-tech.net interviews. DANCE TECH explores the intersection of cutting edge digital technology and the performing arts. This program is conceived and produced by Marlon Barrios Solano in collaboration with ProgressiveIMG. and distributed by TenduTV, first broadband internet TV channel dedicated to dance.This first episode celebrates the work of three movement artists and their very different explorations with interactive technologies, choreographic approaches and artistic intent.The featured artists are:Gideon Obarzanek talks about the process of creating performances "Glow" and "Mortal Engine" using interactive digital technology.Jill Johnson tells us about her experience working on her performance/installation "The Copier" with the Company "Cedar Lake" using "improvisational technologies" and a non-conventional space.Rachid Ouramdane explores plasticity and multiplicity in his solo multimedia performance works.Watch it in TidalTV!Read more…
'Pequenas Navegações', a visual poetry and a DVD vith graphonoptiks ( the way I name my videopoems and videodances) will be launched in Recife, Brasil, at II PLAYREC - Festival Internacional de Videodança.Invite you all to visit the project's blogs and sites:http://pequenasnavegacoes.blogspot.comwww.paolarettore.comhttp://www.playrec2008.com.brregards,Marcelo Kraiser
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Posted by Ernest Meyer on December 1, 2008 at 8:30pm
Music has the unique ability to create an infinitely changing experience via pure abstractions of temporal and spatial relationships, most simply perceived as rhythm and timbre. True, we may live in a material world, but within our shared experience, the abstractions of time and space are not imprisoned by the clocks and Cartesian coordinates of modern science. For us, a day can pass like an hour, and an hour can seem like days. The tiniest of space we share with another person, even in the most fleeting touch, can mean more to us than all the stars in the sky. Though musical abstractions, we can share such experiences, but only when the instruments place no constraints on our expression.In the 1960s, musicians started experimenting with electronic sounds. Early artists such as Pink Floyd experimented with many different sounds before finding the rhythm and timbre that led to their great success. In the 1970s, bands such as King Crimson simulated orchestras with tape loops. Modern-day musical instruments have sadly declined into a stock set of widely accepted sound loops and analog synthesizer simulations. To make new and challenging acoustic experiences, artists need to reach outside conventional instrumentation.In the 1990s, a German company released an unusual software program called Generator, which enabled electronic musicians to put together musical instruments of their own design. The program provides a lego-like interface whereby blocks are hooked up between audio inputs and outputs. Because many of the blocks are like hardware components, the blocks are deliberately designed to look like integrated circuits. The unusual characteristic of Generator was that it could also produce sound in real time, while the electronic musician was still putting together the blocks. This was possible because it embedded several kinds of simulator, similar to those used in electronic engineering, but adapted to the needs of the electronic musician. The software was years ahead of its time. It was later purchased by Native Instruments and combined with other programs to make a very sophisticated design environment called Reaktor.A little after Generator emerged, a little-known group of software developers in California created some similar design environments called Max and MSP. These environments are modeled on later DSP simulation programs, rather than the early hardware simulation programs of Reaktor. The interface is more abstracted and extensible. It was never really limited to creating electronic music alone, but always provided a more open and extensible environment such that, for example, it could provide synchronized light shows and a software workbench for the integration of unique control surfaces.Dance-Tech.net has been kind enough to sponsor me as a columnist, and I will be describing some of my experiences with Max/Msp here in the next nine months.Mac, PC, and Version ChoicesMax/Msp was originally developed on the Macintosh platform. There was a day when that made a great amount of difference, More recently, platform convergence has made the choice between such platforms more based on taste rather than application requirements. Max/Msp has run on both PC and Macs since version 4. Those familiar with software migration know that the first generation of software which converges across hardware and OS platforms is frequently buggy and requires a number of revisions. The challenge often extends beyond the software architecture for the application, and a total source-code rewrite is required. For financial reasons, the transfer to the new code base is usually deferred (for example, until the software protection for the original version is cracked). The delay often results in some cross-company migration of members in the talented alpha team, who worked on the original software, and as a consequence, portions of the original functionality do not port to the new code base for some time.In the case of Max/Msp, the new code base of Max5 is much superior to Max4. It is more stable, plays better, and looks better. However some interfaces have taken some time to release. For example, the Software Development Kit (SDK) which permits integration of external devices was only released this month, after delays approaching a year. Also, the ability to make standalone VST instruments (which can embed inside music sequencer programs such as Sonar and Cubase) is not available in Max5 (Max can operate in a VST environment, but others must own Max5 to play the instruments).This last discovery was a little of a disappointment for me. The ability to compile, link, and make standalone applications was a big part of the reason I decided to migrate from Reaktor to Max. I have developed experimental instruments in Reaktor since 1998, but Native Instruments also sells many VST standalone instruments, and providing the ability of native compilation would mean its customers could compete with its own products. Therefore a movement to Max seemed inevitable, if I was to share my musical creations with others besides those who own the expensive application.A number of alternatives exist for VST integration. One developer suggested making the Graphical User Interface (GUI) in a compiled code, such as C, then connect to a standalone Max interface via the now-industry standard Rewire interface. However I prefer Cubase VST/32 5.0 over SX versions (because I think its mixer less muddy), and Cubase 5.0 can only support a limited number of Rewire audio connections (due to an older interface architecture).The less preferred alternative was to develop in the older Max4 application. After some time the idea occurred of creating the UI in Max4, the main app in Max5, and the two parts could communicate over the more recent OSC interface. One other developer said this was possible.I do not intend to develop VST instruments alone--I hope to work with others, and a number of different applications are underfoot--but I did not want to be limited, as I had been in Reaktor, of not being able to share standalone VST instruments. So, I started the installation of both Max4 and Max5.MAX/MSP InstallationInstalling Max/MSP (and Jitter) 5.0 was a snap. The software is fully functional for 30 days, after which registration is required for continued functionality, so one can install while waiting for authorization codes.It is possible to run Max4 and MAx5 at the same time. However, installing the older 4.0 version introduced some unforeseen problems. To provide better latency and higher bandwidth to the audio hardware, electronic musicians often implement an audio I/O protocol called ASIO. I had been trying a freeware ASIO driver which acted as an intermediary between native WDM drivers and the integrated motherboard sound hardware. The Max 4.0 installation had some problems with the freeware so I uninstalled it.Then almost every single software application stopped working. I checked for viruses. No viruses.It took a while to work out, but now I'm pretty sure the uninstallation caused a kickback in my XP3 license, because ASIO drivers are perceived as hardware by the XP OS. After a certain number of hardware changes, the Windows operating system validates the OS is genuine across the Internet, and this time, XP3 also reset the "system ID." This hadn't happened to me before. Many software applications use some sort of Hamming code or CRC check with the system ID as part of their authentication, including Creamware, Cubase, and Native Instruments software. And so as a consequence, I had to reinstall Scope 4.0, Reaktor 2, Reaktor 3, Reaktor 4, Reaktor 5, Cubase VSt/32 5.0, Cubase SX, Kontakt 2.0, Battery Studio Drumkit, and all my audio drivers.The reinstallation has to be in a certain order, and the older software took may slow reboots. So this all took a while, after which my initial enthusiasm was somewhat subdued. I had been warned about problems with Max 4 but I was overconfident, and frankly I had just forgotten how long it used to take to integrate audio applications. System integration used to be enormously time consuming. Again, I reiterate, Max 5 was a snap. Software is just much better than it used to be.Website mountingI hope to create some server-side audio applications, so I also created a Website:http://www.heavensonearth.com
Creating the website cheered me up after the problems with installing Max 4, and also allows me to share some of the prototypes I would like to transfer to standalone applications via Max/MSP. I am just uploading various audio samples and freeware instruments.But it is not just VST instruments on which I am working, as I will describe in the next column.
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White Sands, New Mexico12.13.2008This is about the fifth time that I drove around for an hour or two searching for a campground that may or may not exist and that may or may not be open for the winter.I got to the White Sands National Park just in time for a fantastic sunset and with the complete assumption that there would be a simple campground. No. None. I think there are hike-in camps, but again, like back in Texas at the Enchanted Rock (that I was so excited to camp at and had pulled up right at twilight as well) there was no campground. The nearest place was twenty miles back east from where I came. Annoying. The GPS got confused and sent me through some massive dirt roads. Straight into an unmarked dead-end. I had to drive back out of that mess and onto the main road to follow the little brown signs to the Oliver Lee New Mexico State Campground… it was dark by this time. Pitch, New Mexico, desert dark.Prior to this search for sleep I actually did go into the white sands. Deep in. Sand everywhere. It’s the Sahara. It’s the Gobi. It’s the Kalahari. At least according to the movies. A number of films are shot out there and based… not there. (There was a film being shot there when I entered the park… something with Clooney and based… in the middle-east, not the southwest.) It’s the perfect location, the light is fantastic and the scenery is clean and magnificent. For the actors the sand in the eyes either adds to the character or makes the day impossible. The wind blows the fine light grains horizontal.It is disorienting because there are no trails, no paths, so with the turbulent wind (that could hold the weight of a standing body) there is no way to find your way back. I enjoyed the textured surface. It was the first hike I’ve ever taken barefoot.
*Note: This is the last entry from my... blogy blog... http://id-iloveamerica.blogspot.com/
All photographs of SIGGRAPH were taken and granted by:Jacki Morie - SIGGRAPH 1993 and 1994, The Zone And Neuro Baby/ The EdgeBrian Blau - SIGGRAPH 1996, Digital BayouKathryn Saunders - SIGGRAPH 1999, Millennium MotelToshihiro Konma - SIGGRAPH 2002,2003,2005,2006,2007 and 2008, Emerging Technology / Art Gallery / Kids / NewTech / Slow ArtThank you very much for their contribution!(SIM sponsor: Nikkei Business Publications,Inc.)SLurl:http://slurl.com/secondlife/nikkeibp/188/151/62
