Weblog
Eldritch firebombs, molotov-style.
V For Vendetta
3/24/06 23:07 - permalink - email - category: Look
V For Vendetta

Remember, remember the 5th of November, the gunpowder treason and plot. I know of no reason why the gunpowder treason should ever be forgot.

V For Vendetta, an adaptation of Alan Moore's and David Lloyd's classic tale, directed by James McTeigue and written by The Wachowski Brothers of Matrix fame, is a brilliant, stunning movie. Natalie Portman and Hugo Weaving give outstanding performances as the leads, and the film is solid in ways cinematic creations rarely are. Given the theme, it's no surprise to find it topping viewing charts. Given the theme, it's also no surprise to find rightwing partisan hacks skewering it as "irresponsible," "glorifying terrorism," "treasonous," and, my favorite, "anti-American."

It's easy for shallow Republican media whips to peg the puppet Chancellor Sutler of V For Vendetta as representing George Bush, because Bush himself has been exposed for what he truly is: a cardboard cutout of a leader symbolizing all the greed, foulness and inhumanity shown in the movie. Mr. Bush and his administration slot perfectly into the larger concept V opposes. One hack explains the movie's popularity by claiming it's being marketed to those who like explosions. Explosions? You're damn right we like explosions, especially when they mean something other than several thousand dead American soldiers, one hundred thousand dead Iraqis, trillion dollar deficits and government sponsored hate.

If you wanted to create a movie about the political environment in America, without winding up in jail or monetarily destroyed by lawsuits, you could set it in a future vision of another land, referencing another culture's historic tale of opposition. V For Vendetta, reclaiming the failure of Guy Fawkes to blow up Parliament in 1605, could be such an allegory, but is much more than this simple reading.

V For Vendetta is set in near future London, in a Christian dictatorship right around the corner from our own moment in time. The movie places the origin of this dictatorship in "America's War" coming to Britain. This war is not Iraq, Iran, Syria or North Korea. The war referenced is the war between freedom and oppression, the war between those who believe a citizen can think for themselves and those who believe they must be thought for, the war between living and living in fear.

It's a war going on right now, here in the United States. The Neocons play the media as if it's a war between Left and Right, Liberal and Conservative. I've come to realize it's not. There are genuine differences of agreement between political factions here in the United States, but not a war. The war is between those who would own us, control us, enrich only themselves by selling us, and those of us who do not want to be owned.

The world of V For Vendetta is the world we're currently creating. Within the dictatorship in V, violence is the only method left to counter fascism. A crucial point the modern Neocons and their talking heads continue to ignore: if you deny a voice to people, if you work to silence and demonize them as the Bush Administration has worked to smear everyone other than the Religious Right and Corporate Money, you eventually leave them with no choice but the one made in V.

People should not be afraid of their governments. Governments should be afraid of their people.

V For Vendetta is about rebellion and responsibility. It's about taking action to create change, about standing for what is right even if it makes you uncomfortable, scared or places you in danger. This movie is not a simple reaction to current events. It's a rebellion against any and all forms of oppression. It's a taste of the self-responsibility of anarchism, self-governance, self-reliance.

A violent rebellion? We're not there, yet. We don't yet need to blow up Parliament or the White House to trounce the evildoers. Our freedom is integral to us, we always have it, no matter what Bush says, or what he may do to us.

We must use it.

In V, blowing up Parliament is a symbol of hope for a populace who can no longer believe in positive change. A million people standing up and simultaneously saying "No" to injustice and fear may be just as effective.

Don't give money to your oppressors. Don't give them your vote. Don't give them your silence, which they want most of all.

Freedom! Forever!

"Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished, as the once vital voice of the verisimilitude now venerates what they once vilified. However, this valorous visitation of a by-gone vexation, stands vivified, and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition. The only verdict is vengeance; a vendetta, held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most verbose vis-à-vis an introduction, and so it is my very good honor to meet you and you may call me V."


Surfacing
3/20/06 14:08 - permalink - email - category: MaxMSPJitter

Two weeks of marathon patching sessions, and I've almost reached the mountain peak.

Six of the nine major plugins I'm readying for commercial release are in beta form, with the final three simply waiting for a good interface make-over and some depersonalization tweaks... meaning that I know what "gritch" means as sonic description, as I built the patch, but it's not sufficiently explanatory for someone unfamiliar with my madness.

The last three plugins should join the beta party this week. After that, it's a simple matter of separating out smaller components from the major nine, like the pitch extraction filter from daevl.triptych, a single channel of unstable pitch shifting from daevl.threep, the envelope followed and filtered white noise channel from daevl.noise. The completed collection will probably weigh in at around 20 plugins.

These are not your clockwork engineer's audio effects. I'm as excited to release these as I was to build them. The original Max/MSP patches came into being to make it easier for me to create organic mayhem and outside-the-mainstream audio for my own music. Placing them into the world is like releasing any other creation to live a life independent of my immediate person: it extends my art, creating bridges between myself and others communicating via sound, then crossing over to those listening to the sound these others will create.


Responsibility Incentives
3/9/06 21:51 - permalink - email - category: Idea

It's been an extremely busy week, with shifting plans and juggled priorities, the least of which has been sleep. Musical material is progressing nicely, but I am, at heart, a perfectionist. The first step is admitting you have a problem, so I've moved a few projects around, and bumped one which was a bit farther back in the queue to the high fire.

I'm polishing some of the custom audio plugins I use in my own productions. A suite of nine major effects, plus leaner, individual component versions, they all started life as Max/MSP patches. I've converted them to VSTs using Cycling 74's Pluggo technology. My original plan was to take the basic concepts I'd prototyped in Max and create honest VSTs and AUs , but on further consideration I realized the installed Pluggo base is both cross-platform and huge. Almost every musician I know uses Pluggo, so as an experiment I'm jumping straight from prototype to product.

Developing these as commercial audio plugins has led me, inevitably, to thoughts of software authorization and piracy management.

As a musician and free human, I hate copy protection. In draconian forms, it deprives me of reasonable actions to preserve my investment in software. As a fundamentally unnatural state of affairs, it's never transparent, a thorn in my side for OS updates and hardware changes.

As a business proposition, particularly in the audio industry, copy protection is the name of the game. Unless you're already a major player, you can't put out a product and expect to pay your bills without some form of copy protection.

I'm leaning toward a simple serial number for version one of the suite. It's easy to implement and the least intrusive. While it won't really prevent theft, it does provide some amount of attrition.

I also have a larger idea taking shape.

A lack of both understanding and responsibility on the part of the purchaser is the main enabler of piracy. The arrangement between software developer and end-user seems more like a mutually agreed upon relationship of responsible partners than producer/consumer. I ask software makers to create a tool I need, while I do as they ask by providing monetary support. If the relationship wears down, say over a series of particularly bug-laden software updates, poor support, unrealistic pricing or... ahem... the introduction of highly restrictive copy protection, at some point it will break.

In our current era of network everywhere, it's easy for applications on a desktop to talk to their creators' servers. I would never advocate the delivery of private information for marketing purposes, or even anything outside a simple serial number. The serial number is all we need.

A person who spreads their serial number around has behaved irresponsibly in the relationship with the creator of their application. As those unlicensed copies begin signaling across the Net, it would be easy to build a database of trust levels. Which customers have allowed their products to be bootlegged? How many times?

Customers who've proven they can't be trusted may not qualify for support, free updates or add-on packages. Upgrades to newer versions may cost more. Serious abusers can be cut off. A person who blew it by sharing out version one may redeem themselves by paying a slightly higher price for version two and keeping it to themselves. If you're responsible in the relationship, the price goes down. If you install it on five machines and that number stays static, it's obvious you're keeping it within your own sphere of use.

All this should be out in the open at time of purchase, in plain language, so end-users know exactly what is expected of them. Who ever reads all the way through the lawyer-speak of an EULA? The responsibility of the creator is to make the best software they possibly can. The responsibility of the user of this software is to honestly support the people who make these amazing tools for them.


Making Noise With Martin
3/1/06 23:40 - permalink - email - category: Listen
Making Noise With Martin Spernau

Working as a sound artist in the digital age, my palette includes, literally, any noise which may be captured. I make use of highly processed environmental material in my more ambient pieces, and a favorite trick is turning what should not have been percussive into drums. Once I've coaxed a sound into 0s and 1s, it's free to become whatever I wish. The edges and artifacts remaining from its source incarnation provide a grounding, organic mystery.

I'm always interested in examining the techniques of others, and it's terrific when they make it easy. Wicked environmentalist Martin Spernau has a very nice mini-podcast up explaining how he created the clicking back-beat for his recent track: Father, I have been dreaming. And while some of us cyborg-meld with our studios full of blinking lights, Martin created his latest audio horror play using only GarageBand and the built-in mic on his iSight. Here's sonic proof you can create great sound with a very minimal setup.

Check out Martin's dark, enveloping audio works, Mindwarp and Outro. Be prepared to have your skin crawl away from your shivering bones, and like it.


the weblog of Vlad Spears
Chief Iconoclast - Daevlmakr Media
Designing Monsters - vitruvius.livejournal.com

reading
Emma Bull - War For The Oaks
Thomas Jefferson - The Jefferson Bible
Baggini & Fosl - The Philosopher's Toolkit

listening
Beta Two Agonist - Zero Point Field
Daevls On FlightDynamics
Dankoe, Gorbunov, Zemlyanikeen - Far East Sessions

recent
Cycling '74 Loves Cats
Seemingly Solid Things - Glenn Gibson @ GIVEN
drmArm
Life In 3d
It's Full Of Stars
Retracted Landing Gear

This is a Flickr badge showing public photos from vladspears. Make your own badge here.

category
2Second(fuse) 7
Action 1
Atmos 3
Biome 1
BlueDeceiver 2
Creation 6
Daevlmakr 12
Exorcism 16
Flow 10
Futurism 15
Gear 19
Idea 4
Image 3
Incantation 19
Knowledge 5
Listen 18
LiveMusic 3
Locate 2
Look 3
MaxMSPJitter 16
Politics 16
Quote 1
Read 10
Science 2
SoundDesign 4
Technology 3
Tinderbox 5
Unfälle 2
Vegetarian 3
Vision 2

month
03_02008
02_02008
01_02008
11_02007
10_02007
09_02007
07_02007
06_02007
05_02007
04_02007
03_02007
02_02007
01_02007
12_02006
11_02006
10_02006
09_02006
08_02006
07_02006
06_02006
05_02006
04_02006
03_02006
02_02006
01_02006
12_02005
11_02005
10_02005
09_02005
08_02005
07_02005
06_02005
05_02005
04_02005







weblog
bldg.blog
Cesare Marilungo
Chris O'Shea
Christian Fromme
Dan Winckler
Data Is Nature
David Fine
Doug Miller
Hal Rager
Hihiromi
hyperTextuality
Information Aesthetics
Jacob Appelbaum
Jaeysin's Xylophone
Jeff Vail
Jeffrey Radcliffe
FlightDynamics
Mac Tonnies
Maehymn
Mark Bernstein
Marsha Vdovin
Martin Spernau
Mediapathic
Neomarxisme
Onegoodmove
Pascal Venier
Seth Elalouf
Sex In Art
Steven R. Livingstone
The Nonist
Trond Lossius

link
Better Humans
Council for Secular Humanism
Creative Commons
DailyKos
Diesel Sweeties
EFF
FuturePundit
The Heinlein Society
HMC MediaLab
IFTF
Make
New Scientist
The Panda's Thumb
Press Think
Questionable Content
Rarefaction
ScaryGoRound
SpaceSuitGroup
Scientific American

legalese
All written material on 2Second(fuse)
authored by Vlad Spears is published under the
Creative Commons Some Rights Reserved license



Attribution - NonCommercial - NoDerivs 2.0

Fight corporate ownership of culture:
Create and Disseminate!