V3.05 Northwest CyberArtist Newsletter June 1995

The Northwest CyberArtist 1 Volume Three, Number Five June, 1995 Everyone loves to play in the water! Water fountains, both indoors and outdooors have fascinated viewers for centuriies Whether used to form a background of soothing sights and sounds in a quiet gardeen or as the centerpiece an atrium, mall or an entire park. Fountains can, and have been, made even more effective by the judicious use of light and music — as in the International Fountain at Seattle Center. Some installatiion make use of high-tech control and super laminar flow to produce startling or comical effects, such as the systems seen at Disneyland. In the early 1960s I served a tour in the army and was stationed in West Berlin, Germany. At that time, there was a popular bar and dance hall in Berlin called “Resi’s” that featured a water display device called a “Wasserspieler” (Water Player). The Wasserspieler consisted of a row of fountains on the stage at one end of the dance floor that were installed in a shallow pool or tank. At one side of the stage was a control booth where the operator could control the fountains with valves and levers (all mechanical in nature). He could contrro the height of the fountains and could move some of them with his levers. The operator watched the conductor of the dance orchestra and “played” the fountains in exact time with the music. A “fat” squirt would represent the bass and a high squirt would represent, for exampple a cymbal crash. The fountains, lined up across the stage, could be played individually or linked together. At that time, the Wasserspieler was probably thirty to forty years old. Colored lights had been added more recently. The Wasserspieler was great fun to watch and was played during breaks in the dancinng The grand finale was virtually always the “Can Can.” When I returned from Germany in 1964, I was delighted to hear that the International Fountain, installed at the Seattle Center during the World’s Fair, played to music. I assumed I would see a big, modern Wasserspieler. I was quite disappointed to learn, however, that while the Center Fountain does move water through a series of nozzles with automated control of the effects and the lighting, it was not actually designed to “play” with the music. Rather it was designed to set “the mood.” During the ensuing three decades, I oftte thought about the Wasserspieler and whether its effects could be reproduced using more modern technology, such as computer control to assist or replace the operator, and with some type of electrical valves to replace the mechanical valves. One by one, the pieces fell into place: Ö The development of “light organs” in the ’70s. These devices plugged into a stereo system and featured a display of colored lights that flashed or changed color in time to the music. They principally broke the audio output into three or more bands and switched colored lights on or off based upon the amplitude of the various audio bands. Ö The development of digital audio, including disks (CDs) and tape (DAT). This was accompanied by the adoption of MIDI. Ö The availability of relatively inexpennsiv high-speed industrial solenoid valves, that operate at safe, low voltages (generally 12v DC) and that can open or close in 40 milliseconds or faster. These developments led me to the concluusio that a “Water Player” could be built for home or commercial use that would be small and modular so that it could be set up in any existing catch basin and that could be built at a cost comparable with existing high-quality sound systems or comparably sized sculpture. This conclusion led to the construction and testing of “Model 1” in November of 1992. The purpose of Model 1 was to prove whether the concept of a small electronicaall controlled fountain would work at all. No consideration was given to aesthetics or packaging. It is a “breadboard made of plywood that holds thirteen nozzles, the solenoid valves controlling them, and the attendant plumbing and wiring. The contrro panel (keyboard) is also plywood with a ground-fault interrupter, micro-switches for keys, and a 12 Volt, 3 Amp battery charger for a power supply. The keyboard and the fountain are connected by a 10-wire cable about 30 feet long. Water pressure is supplied to a garden hose fitting that has a pressure shutoff valve and a pressure gauge. Model 1 is played manually to externally supplied music. THE MIDI CONTROLLED LAWN SPRINKLER OR Why my bac k yard is so green and why my wife hates "Stars & Stripes Forever." By Mike Storie JUNE Meeting: Monday, June 5 The Black Citroen 513 N. 36th (In Fremont) 7:30pm JUNE’s Guest: Mike Storie *PLUS* Screening of the MTV News – Europe video clip report on Northwest CyberArtists 62 The Northwest CyberArtist Corporate Sponsorship Provided By: The Northwest CyberArtist ISSN 1068-9850 Vol. 3/No.5 June 1995 10802 47th Avenue West Mukilteo, WA 98275-5098 Voice: (206)355-6000 Fax: (206)347-7757 Published by volunteers. A Paramount Moment By Bill H. Ritchie, Jr. Six months ago there was a casual conversatiio between principles involved in the restoratiio and development of the Paramount Theater and the Media Arts Center on the subject of using space at the theater, under development planning, for arts organizations. In April I visited Chip Wilson, Executive Producer at the Paramount, and asked him what he envisioned. He told me his dream, and how it was coming true because of believers like Ida Cole and Craig Ragland. I cannot quote him, but I think he said it was important to the dream that the creative people in the community regard the Paramount as a new venue for their art and craft (especially those who use new technologies for their artistic labors). He also described the amounts and kinds of money required to complete the phases of the total Paramount restoration. Millions of dollars are still being sought. By involving the creative media arts community in the planning, and noting that the Digital Media Alliance (representing our region's high technology industries) might be helpful, Chip asked that we consider how people might enter into a win-win agreement with the planners at the Paramount. Sheila Richardson, publicist and a bridgebuiilde between industry and the arts and entertainnmen providers, called a joint meeting for May 10th to ask the two principle organizations that are most concerned with media and cyberneeti arts. Could they continue the discussion that the MAC started six months ago? Soon the Paramooun might invite a proposal to develop space at the Paramount. Personally I thought it was a good idea and volunteered to help coordinate and document the meeting, and in the days after May 10 received both private e-mail and listserv messages, pro and con. Some were about working with the MAC. Some were about the motives of the Paramount. The next week, while NWCA supporters were Some Northwest CyberArtists and their contact information: Bret Battey -Researcher bret@eskimo.com John Beezer -On-Line Czar bisquik@eskimo.com Georgia Graham -Volunteer Coordinator georgiagm@aol.com 285-9113 Aurianna Marici 206-820-9454 Bob Moses bobmoses@pan.com Mike Storie mstorie@nwlink.com 324-8768 Steve Turnidge CompuServe: 72250,3205 Internet: stevet@rane.win.net new ways of doing old things, and share the advancements of your speciality with the group during the “Tech Check”. You are invited to comment on the Proposal of Organization. There was no room to create a “Reply Coupon”, but feel free to send your comments to the address at right. (Address the comments to Steve Turnidge.) The preferred forum for comment and communication is online. If you have an EMaai address, follow the instructions on page 5 to join the CyberArtists list. Thank you all for your work and patience through our growing pains! ...Steve>>> Focus --by Steve Turnidge Please excuse the font sizes in this issue, we have more content than pages... Over the past six months our focus has shifted from the future to ourselves. This was a necessary step for the continued growth and existence of our group. Now, we have the bulk of our self realization in a tangible format, with Mike Storie’s distillation of the various documents defining Northwest CyberArtists. Now is the time to shift our focus to our prime task --to be “Future Shock Absorbers.” To do this, come to the meetings armed with exchanging opinions about it, the Paramount Theater joined the Digital Media Alliance. This article (for the Northwest CyberArtist newsletter) is not an expression of a committee, nor does it incorporate the listserve comments, pro-and-con, regarding the Paramount. It is only my statement. My personal enthusiasm for the idea of creative, production and administration space at the theater was high. But now I realize now that it is not attractive to everyone. Because I have known Chip and Craig for four years, and Nine-One-One since "the old days," I thought a physical space juxtaposing the venerable MAC and the NWCA was a good idea. Many other Central Puget Sound arts and entertainment groups will be interested, and they will discuss space and redevelopment with the MAC, I believe. The Washington Film and Video Association, the NW Writers and Artists Guild, are examples; and these are only two of almost 400 arts, cultural, heritage and historicca organizations that might qualify. I conclude that the NWCA must put first things first, such as (1) Make the Bumbershoot event a success and (2) Develop articles and bylaws to become a not-for-profit organization with the legitimate power to make agreements with other organizations. Until it does, Northwees CyberArtists are apprenticed to older legitiimat organizations. Imagine what might happen if Northwest CyberArtists proceeded with discussions based on a virtual set of rules. Mike Storie's work on organization principple should get more attention than this "Paramooun moment of opportunity." I am calling off my plan to form a study group around the Paramount history and forecast. But I will contiinu to ponder the "Great Sucking Sound SOUW*." Thank you to all who attended May 10, and I am looking forward to the Great Bumbershoot event and Mike Storie's work. The Author: Bill Ritchie is an artist, writer and ITinerate Professor of Art. http://www.seanet.com/HTML/Vendors/ritchie *South Of University of Washington--site of the Digital Media Design Lab. The Northwest CyberArtist is free for those who ask to be added to the mailing list. The Northwest CyberArtist is published monthly by Northwest CyberArtists. First class postage paid at Seattle, WAThe Northwest CyberArtist 3 The following is a revised proposal for organization based upon the comments I have received. I have either changed the text (indicated by revision bars) or added the comment for further discussion. This is being printed in the June 95 Newsletter and copies will be brought to the June meeting. Comment at the meeting, on-line or by mail. *Mike Storie* PROPOSAL FOR ORGANIZATION OF NORTHWEST CYBERARTISTS 1. Some Definitions and the Organization A. The name of the Organization is Northwest CyberArtists. I DO FEEL THAT THE TERM “CYBER” HAS BEEN BEATEN TO DEATH BY MARKETING ORGANIZATIONS AND THE MEDIA, BUT IT IS WHAT PEOPLE HAVE COME TO CALL OUR GROUP. BILL RITCHIE OFFERED SOME HISTORICAL INFORMATION AS TO THE ORIGIN OF THE TERM “CYBER.” STEVE TURNIDGE POINTED OUT THAT CYBERARTS INTERNATIONAL WAS A GROUP THAT THE LOCAL NEMUS GROUP JOINED AS CYBERARTS NORTHWEST. HE THINKS THAT CYBERARTS INTERNATIONAL IS NOW DEFUNCT. A DEBATE ON THE NAME OF THE GROUP SHOULD PROBABLY BE IN A DIFFERENT FORUM. B. The purpose of the organization is to nurture, support, and provide technology transfer and collaborative opportunities for Cyber Artists and their supporters. BRET FELT THAT “TECHNOLOGY TRANSFER” IMPLIED HARDWARE, AND SHOULD IT BE SOMETHING LIKE KNOWLEDGE TRANSFER. I FELL THAT “TECHNOLOGY” AND “TECHNIQUE” ARE PRETTY MUCH THE SAME. A DIFFERENT VERSION MIGHT BE: B. The purpose of the organization is to nurture, support, and provide the sharing of techniques, knowledge, ideas and collaborative opportunities for Cyber Artists and their supporters. C. Membership. Any person who is interested in the application of technology to art (or vice versa) is welcome to attend meetings and/or join the organization. D. There are presently no dues or other requirements of membership. Membership implies being on the mailing list and participating in activities of the Organization. A COUPLE OF PEOPLE FELT THAT PERHAPS WE SHOULD AT LEAST CONSIDER SOME SORT OF MEMBERSHIP REQUIREMENTS SUCH AS ATTENDANCE, DUES, TIME, E-MAIL ADDRESS, ETC. EVERYONE WHO COMMENTED HAD MIXED FEELINGS. THE TRUSTEES COULD REVISIT THE DEFINITION OF MEMBERSHIP IN THE FUTURE. E. It is the intent of the Organization to follow the democratic decisionmakkin process as much as possible and to ensure the continued association of members by dealing with each individual on an equitable and respectable basis. F. All meetings of the Organization are open to any member. THIS CONCEPT CAN DO A GREAT DEAL TO DE-FUSE BAD FEELINGS OR MISTRUST AS LONG AS ALL MEMBERS FOLLOW THE RULES OF GENERAL POLITENESS. 2. CyberArtist Values: THE FOLLOWING IS A PRETTY LONG AND WORDY SECTION. WHAT IT SAYS IS IMPORTANT BUT WOULD IT BE BETTER BE PLACED IN A DIFFERENT DOCUMENT? Each member of Northwest CyberArtists is at once considerre a guru and an apprentice. I SORT OF BOILED THIS DOWN FROM THE 100 GURUS + 100 APPRENTICES = 100 MEMBERS CONCEPT. A. We are local universe problem solvers. This term was coined by Buckminster Fuller. It means that we take responsibility for problems in our immediate context and find solutions for them. Out primary purpose for being is ethical: to make the world a better place. B. We stay aware of new technologies. We accept the reality of technological change. We acknowledge that technoloog in itself is value neutral. Our use of a technology determines whether technology becomes constructive or destructive. Therefore, as technologists, artists, and entertainers, we have a responsibility to remain informed about technological change. C. We become experts in existing technologies. Technology must not be treated as an end in itself. To ensure that technology serves humanistic, creative, and expressive ends, we acknowledge that issues of quality art and entertainment transcend issues of technology. We seek to attain excellence in art and entertainment first and foremost. This may require exercising competence in a familiar technology rather than appropriatiin a new technology. D. We separate hype from reality. We seek to make the public aware of the reality and potential of the current state of technology, rather than using exaggeration, illusion, or novelty to mislead the public for our advantage. We promote technological literacy in ourselves and in the public. E. We share our knowledge; we acknowledge the limits of our knowledge. Because the rate of technological change is so fast, and because the realm of technology and arts is so vast, we must learn from each other and share our knowledge with each other. We try to acknowledge the limits of our own knowledge and to request the assistance of others. This idea is expressed in the phrase “100 gurus, 100 apprentices.” E. We are willing to add new dimensions to our work. We embrace the capacity for new technologies to break down previous barriers between disciplines. We express this through the encouragement of collaborative, multi-disciplinary work in art and entertainment. F. We value non-hierarchical organization and self-leadership. We believe that society will benefit from more people who are self-directing. Therefore, we seek to capitalize on and promote people’s own capacity for learning and leading. We seek to provide a context in which people can become empowered to exercise their own resources for artistic ends, rather than being a controlling structure. DOES THE ABOVE CONFLICT WITH THIS NEW ORGANIZATION? I DON’T THINK THERE IS A PROBLEM HERE. SEE SECTION 3. A. BELOW. G. We are a nurturing ground for new artists. We seek to be a ground in which individuals can be nurtured to begin professional art and entertainment careers. The group itself does not seek to become a professional outlet. H. We promote the Pacific Northwest as a center for media and technology experimentation. The Pacific Northwest is rich with researchers and artists working in mixed media, technological arts, and audio and visual technologies. We seek to be a catalyst for recognizing the full creative potential of these talented people, business resources, and technological developments through artistic expression and entertainment. 3. Limitations of the Organization A. The intent of this organization is to maintain the minimum amount of structure consistent with the need | to resolve conflicts and to effectively fulfill its | purpose. B. The organization does not represent, nor claim to be an agent for any artist or group of artists except by the express consent of the artist or group and then only on an ad hoc basis for a particular project that may be undertaken by the organization with the full knowledge of the artists involved. 4. Election and Definition of Trustees A. Re-Boot. The general membership of Northwest CyberArtists, at a meeting specifically designated, will elect a Board of Trustees. This will be a group of (continued over)4 The Northwest CyberArtist between 6 and 14 members. Each Trustee will serve a term of 2 years. The exact number of Trustees and the term of office may be changed from time to time by the Trustees, however it will always be a number divisible by 2 so that terms may be rotated. THE TERM “REBOOT” HERE MERELY MEANS THAT WE ARE STARTING THIS NEW STRUCTURE FROM SCRATCH. THE EXISTING NON-STRUCTURED GROUP IS GENERALLY AGREEING TO HAVE SOME STRUCTURE AND TO HAVE AN ELECTION OF TRUSTEES. THE TERM IS NOT REALLY NECESSARY HERE. HOW ABOUT THE TERMS OF OFFICE? WE COULD AS EASILY HAVE THREE-YEAR TERMS AND ELECT 1/3 OF THE TRUSTEES EACH YEAR. I FELT THAT THIS WAS TOO LONG A TERM GIVEN THE RAPIDLY CHANGING NATURE OF WHAT WE ARE DOING. THOUGHTS? At this meeting, nominations will be accepted from the general membership. One half of the Trustees elected will serve a one-year term and the rest a twoyeea term to start the term rotation. These initial one-year terms are exempt from the term limitations listed below. SHOULD WE ALLOW FOR A WRITE-IN BY MAIL NOMINATION PROCESS? THIS TAKES TIME AND EFFORT BUT IT WOULD COVER THOSE WHO CAN’T ATTEND THE SPECIAL MEETING. B. After the first general election, an election of the general membership will be held once a year to replace any trustee whose term has expired or who has left the board for any reason. DO WE NEED A TIE-BREAKING MECHANISM IN CASE OF A SPLIT WITH AN EVEN NUMBER OF TRUSTEES? I FIND THIS SELDOM HAPPENS IN OTHER ORGANIZATIONS TO WHICH I BELONG. C. Any Trustee may resign at any time or may be removed by the majority of the other trustees at any regular meeting of the trustees. D. Vacancies on the board of trustees may be filled until the next scheduled general election, by a majority vote of the remaining trustees present. A quorum is not necessary for such an election so long as all remaining trustees are present. THIS MEANS THAT IF SOMEONE RESIGNS FROM THE TRUSTEES, THE REMAINING TRUSTEES CAN ELECT SOMEONE ELSE TO REPLACE THAT PERSON UNTIL THE NEXT GENERAL ELECTION. E. A trustee who has served two consecutive two-year terms of office shall not be eligible for reelection until one year has passed. TERM LIMITS! DO WE WANT THEM? F. The trustees will meet monthly at whatever time and place or via whatever media the trustees choose. G. A special meeting of the trustees may be called at any time by order of the President or any two trustees. H. A majority of the trustees shall constitute a quorum for the transaction of business at all meetings. 4. Powers and Duties of the Trustees A. To appoint, elect and remove at pleasure all officers, agents, and employees of the Organization, and to prescribe their duties and compensation, if any is allowed. B. To conduct, manage and control the affairs and business of the Organization. C. To prescribe policies and to perform any and all acts they deem necessary to further the general purposes of the Organization, and to transact all of the business affairs of the Organization. D. To appoint such committees as in their judgment may be necessary and advisable to handle and dispose of the business and affairs of the Organization and to delegate and confer upon such committees such of its powers as it may deem proper. THE TRUSTEES WILL TAKE THE PLACE OF THE PRESENT RESOURCE COMMITTEE. 5. Officers A. The trustees shall elect annually, from among the trustees, a president, a vice president, a secretary, and a treasurer. NOTE THIS IS NOT A GENERAL ELECTION. I THINK THAT THE OFFICERS SHOULD BE REQUIRED TO BE TRUSTEES. THE MORE CORRECT TITLE OF ANY OF THE ABOVE WOULD BE “PRESIDENT OF THE BOARD OF TRUSTEES.” COMMENTS? I’M TRYING TO AVOID WASTING ONE GENERAL MEETING OUT OF TWELVE TO HAVE ELECTIONS. B. The President shall preside at all meetings of the general membershhi and of the trustees. The President and the Secretary shall sign all instruments on behalf of the Organization when directed by the trustees. C. The Vice President shall, in the absence, disability or refusal of the President to act, have all the powers and perform all the duties of the President. D. The Secretary shall attend all meetings of the trustees and keep the minutes of the proceedings. The Secretary may appoint a recording secretary to take minutes for any meeting. E. The Treasurer shall be the custodian of any funds of the Organizatiio and shall keep proper accounts of any financial transactions. 6. Standing Committees A. The trustees shall establish a HOUSE COMMITTEE to arrange for an adequate meeting place for all general meetings. The house committee will also be responsible for any equipment required at any meeting. B. The trustees shall establish a PROGRAM COMMITTEE to insure the high quality of programs at the monthly general membership meetings. C. The trustee shall establish an ARCHIVE COMMITTEE to collect, catalog, and display documentation of the events, shows and other accomplishments of Northwest CyberArtists. D. The trustees will establish an LIAISON COMMITTEE to attend meetings and provide interaction with analogous groups (such as The Media Center and the Digital Media Alliance). E. The trustees may establish any other standing committees that they may deem useful. 7. Ad Hoc or Project Committees A. The trustees may establish Ad Hoc committees at any time to carry out projects such as shows. The trustees may delegate whatever authority they see fit depending upon the nature of the project. Such powers conferred by the trustees will expire on a date set by the trustees. At least one trustee shall be a member of any such committee. B. Project committees may represent the Organization or an artist or group of artists during the duration of the project. C. The committee chair (Producer, Director, etc.) will report regularly to the general membership on the progress of the project. THE ABOVE DISCUSSION OF A PROJECT COMMITTEE WAS MODELED AFTER THE EXISTING BUMBERSHOOT COMMITTEE WHICH I FEEL IS VERY WELL ORGANIZED. 8. Indemnification of Trustees and Officers IF WE LATER DECIDE TO INCORPORATE AS A NON-PROFIT, WE WILL NEED SOME LEGAL JARGON HERE. 9. Amendment of the Organization The above Organization may be altered, amended or repealed by the affirmative vote of a majority of the Trustees at any meeting of the Board. LEARN TO TRUST YOUR TRUSTEES! OR SHOULD WE REQUIRE ANY SUCH CHANGES TO COME TO A GENERAL VOTE? Mike Storie mstorie@nwlink.com 324-8768The Northwest CyberArtist 5 Internet Corner WWW: http://www.nwlink.com/cyberartists How to join the on-line CyberArtists List: send email to listproc@u.washington.edu. Leave the subject line blank and include only the following in the message body: subscribe cyberartists yourname How to join the Northwest Elektro-Industrial Coalition List: Same as above with the following in the message body: subscribe NEC yourname Call me at work if you have any problems getting signed on. Please pass this on to all others interested in these topics Edward M. Galore, lemaire@cac.washington.edu, (206)543-5970 Losing Techne ©1995 Bill H. Ritchie, Jr. from “Media: Her story” selections from “The Women Who Fell to Earth,” forthcoming hypermedia release. During or after a Northwest Cyberartists meeting, or the next morning, Media likes to twist the events around for her story. When Kelly and Chuck spoke on May 2, Media told about losing sight of her sister, Techne, at sea. “Techne has red hair. She’s about 5-3, an inch shorter than me. She was so strange when we left the home ship, when it sank— not frightened at all. She just sort of bobbed up out of the water, laughing and gasping.” Media’s voice cracked, just so slightly, and Gay wondered if it was emotion, or only a coincidence. She seemed to resent Techne and, whenever she talked about her, she spoke with a critical, disparaging tone in her voice. But now she was sounding sentimentta about her sister. “The last thing I remember her saying was, she shouted across the waves to me, ‘I feel like I’ve just been born,’ and her voice was different. Louder. And kind of trilling. Trilling? Is that a word, Gay?” and Media laughed. She never seemed happy, or laughed, before, when she told stories about Techne. Now Media quieted and was looking down, her eyes fixed, gazing silently into her tea bowl. She was sinking. Gay knew the rest of the story. She had told him before that she’d gone down again and when she came up, Techne was nowhere to be seen. And Aurial. She couldn’t see Aurial and—was there a fourth? Gay was blanking on her third sister’s name. Media appeared sad, he thought, and she said, her eyes lifting, “Then the dolphins came.” –HELP!– Northwest CyberArtists need a lot of it for the innovatiiv installations that are being planned for this year's Bumbershoot. Volunteers are needed to help build the space; set up, wire and run the installations; distribute information; help during the event; and tear everything down at the end. If you have time to give or resources to loan (equipment or a vehicle) over Labor Day weekend, call Georgia Graham at 285-9113, or send email to georgiagm@aol.com. JUNE CALENDAR OF NWCA ACTIVITIES: Monday June 5th 6:00 pm Resource group meeting at Black Citroen Monday June 5th 7:30 pm Regular NWCA meeting at Black Citroen Monday June 19th 7:30 pm Open Studio (See above) Open Studio-Monday, June 19th, 7:30 PM The Open Studio is a monthly forum for artists and technologists to present and discuss their work or the work of other artists. We meet at Symbionics in The Western Building, 619 Western Avenue, Seattle. (1 block north of the intersection of Yesler and Western in Pioneer Square, west side of the street. Go up the stairs to second floor and through the rolling fire door left of the landing.) A VCR, DAT player, and cassette deck are available, as well as synthesizers, mixers, a Macintosh, and an Internet feed. Please contact Pierre DeVris, at 822-9185, pierredv@microsoft.com if you wish to present something. You can bring work unannounced to the Open Studio; however, we can only guarantee time for those who have made arrangements ahead of time. You will be responsible for bringing any equipment you need beyond what is available in the studio. You do not have to bring something to present to participate in the Open Studio. Bumbershoot meetings continue to be held every Tuesday at 7:00 pm in Garrett Cobar's loft at 66 Bell Street, #101. All interested individuals are encouraged to attend.6 The Northwest CyberArtist CYBERARTS INTERNATIONAL IS A REGISTERED TRADEMARK OF MILLER FREEMAN INC. NORTHWEST CYBERARTISTS AND THE NORTHWEST CYBERARTIST LOGO ARE TRADEMARKS OF NORTHWEST CYBERARTISTS AND OF THE DESIGNER. Northwest CyberArtists 10802 47th Avenue West Mukilteo, WA 98275-5098 ADDRESS CORRECTION REQUESTED Is this Junk Mail? Please Mark “RETURN TO SENDER” and drop in the mailbox; Thank You! FIRST CLASS MAIL Meeting LOCATION NOTICE! Please see page 1 for details Model 2 was completed in the spring of 1993 and is considerably more sophisticated in aesthetics, capability, and control. It consists of a compact (portable) frame supporrtin 21 nozzles broken up into soprano, alto, tenor, baritone, and bass groups. Each group has its own lights. The fountain can be supplied with water either from a garden hose or from a high-pressure (80-100 psi) submersible well pump. All of the internal plumbing is 1/2 inch CPVC and the solenoid valves vary from 1/8 to 1/2 inch. The fountain is connected by a 28-conductor cable to a mechanical control keyboard that allows on site testing of all functions. This in turn is connected to a controller that converts appropriate MIDI signals (note-on, note-off, velocity, etc.) into electrical impulses suitable for controlling the fountain. The controller is connected, via a standard MIDI cable, to any device capable of generating suitable MIDI signals that the fountain can understand. The fountain can be programmed to play along with a MIDI sequence and the fountaai program can be saved on sequencer tracks. The fountain can be set up to respond to any MIDI channel. I have experimented with MIDI commaand stored in an FSK format recorded on a 4-track recorder. This allows a pre-set piece of stereo music to be recorded on tracks 1 and 2, a SMPTE sync stripe on track 3 and the fountain control on track 4. This would allow the fountain to be played to music without having to have a sequencer or THE MIDI CONTROLLED LAWN SPRINKLER -Continued from pg 1 It’s Your Turn In July! July's meeting (July 3) will be a Present Your Works meeting. Here is your chance to let other Northwest CyberArtists know what you are working on and to share your knowledge. Presentation slots will be 10 to 15 minutes long, depending on how many people sign up. Sign up by contacting Bret Battey at 281-8639 or bret@eskimo.com and letting him know your name, contact information, what you want to present, how long it is, what equipment you will bring, and what equipment you will need to have provided. Slots are available on a first-come, first-serve basis, so sign up now! computer on site. Unfortunately the electroonic to do this were quite expensive and the FSK signal was not very reliable. In the spring of 1994, I designed Model 3 for the Beyond Fast Forward show that was held in October. It features 54 electric valves controlling 80 nozzles and has 36 computercontrrolle lights. This fountain can be played by any MIDI musical device, including a PC or other sequencer. It presently uses 7 MIDITools computers, six of which run under water! I am presently refurbishing this device for the filming of some Sesame Street segmeent that will take place in a couple of weeks. I will bring one of the soprano/alto sections of this fountain to the next meeting and show some videos of the capabilities of it (and its predecessors.)