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Designing Winterbloom’s Big Honking Button (2020) theavalkyrie. A solid rundown on how to design eurorack modules. The text is informative and teaches how to read schematics, how microcontrollers work and what goes into designing a module. The honking button seems fun but a little gimmicky. Build a simplified USB +/-12v&5v power-supply based on this discussion. Opted for the Meanwell DKM10E-12 and the palm size board I assembled offers ~ +/-420mA! I’m now sourcing parts to make my own USB A-B cable (all of the cables I had caused power drop issues). Planning piezo-amp units and dreaming of a complex ramp generator or LFO/SLEW/ENV 1.1 by Kymatica.

Some links on the site don’t work but the protocol seems usefull for haptic devices: “Buttplug is an open-source standards and software project for controlling intimate hardware, including sex toys, fucking machines, electrostim hardware, and more.”

Sourced parts for radio transmitters & receivers and learning of the strange world of radio. Wide-band WebSDR is an interesting online radio project, the purpose of which I don’t understand (for testing transmissions?). Spectres of Shortwave a 2016 film by Amanda Dawn Christie seems interesting. Also listening and reading more Tetsuo Kogawa stuff. Found two great performances of his which use radio as a medium (radioart). In Looking for the Silent Interference (2018) the artist stacks transmitters which are broadcasting on the same frequency to produce audible ripples in radio waves (I think this is what he means by “folds” in radio space, referencing Adorno). In A Simple Way of Radioart (2019) he uses a pair of transmitters and receivers to produce a feedback loop which tone is depended on how he plays the transmitter antennas. In some of his texts he talks about hands as instruments and both examples are very good examples of this: The shape of his palm sets the sound. I cannot reach him using the email on his site, I’ll have to reach out to his colleges. Here is a quote from A Radioart Manifesto (2008)

When does radio become into radioart beyond being a medium? For newspaper, for instance, paper is a medium. […] How and when paper becomes an art? It is when the material of “paper” changes itself into a different material. Whatever you write and draw on a sheet of paper, it remains a medium. Therefore such attempts create not paperart but art on the paper. And when you crumple up it, it becomes a garbage. Adorno argued that “all post-Auschwitz culture, including its urgent critiques, is garbage”.

This “garbage” (Muell) is, however, not a worthless thing but a new material of art in Adorno’s critical perspective. In my interpretation, post-modern arts (arts after the modernism) starts with Adorno’s “garbage . His argument advocated “trash art”. But considering his critiques against the electronic mass medium such as radio and television we can argue that the most post-modern material as “garbage” would be airwaves.

Thinking about how airwaves as garbage become an art, the aforesaid example of paper might help us. When a sheet of paper is crumpled, it becomes garbage and at the same time it has many folds. They damage the material as a writing/drawing paper but change this material into another. Giles Deleuze provides an interesting understanding on fold although it is in relation to Leibniz’ monadology. A labyrinth is said, etymologically, to be multiple because it contains many folds. the multiple is not only what has many parts but also what is folded in many ways. [sic]

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