TUE, 18 OCT 2016 AT 08:30
http://www.venturefest-sw.co.uk/
i-DAT has developed a Quorum model for real-time data feeds at Ventruefest.
Running from a networked Raspberry Pi vision sensors and twitter feeds the Quorum Fest tracks human activity and communication around the event through a dynamic 3D datascape.
Murmuration was one of the outcomes from the E / M / D / L – EUROPEAN MOBILE DOME LAB for Artistic Research (http://www.emdl.eu/) partnership of European and Canadian cultural organisations funded by EU Culture Program. This post contains information and documentation on this project component.
murmuration:
1: the act of murmuring: the utterance of low, indistinct, continuous whisper of sounds or complaining noises, a mutter, the murmur of waves.
2: an abnormal whooshing sound emanating from the heart.
3: the mass cloud like flocking of starlings.
Late Middle English: from French, from Latin murmuratio, from murmurare 'to murmur'. A collective noun dating from the late C15th.
Following the premier at the ix Symposium (http://ix.sat.qc.ca/node/422?language=en) on Thursday May 21 – 20:00 2015 in the Satosphère, Liminal Spaces, Dream Collider and Murmuration were performed from May 26 to June 12 2015 (http://sat.qc.ca/fr/emdl).
E/M/D/L Context:
E/M/D/L presents: Liminal Spaces, Dream Collider, and Murmuration, the culmination of a EU funded collaboration between Canadian and European partners. This research project was carried out through eight international residencies and is presented in the Satosphere of Montreal’s Society for Arts and Technology (SAT). Articulated through the fulldome environment as an instrument to explore transdisciplinary forms of artistic expression, these experiments oscillate between performance, interactive installation and immersive event.
[From the published SAT event info pamphlet]
[Time lapse video by SAT]
murmuration is a series of trans-scalar and recursive transitions from the imaginary to infinity : i∞
Swarming ‘Phage’ [particles/fragments/epithelium/boids] traverse the three domains, providing a focus for audience interaction and navigation. A murmuratiuon of Phage sweep noisily through the hollow space. Access to each domain is unlocked by interactions through the physical remains of fallen Phage. This detritus (control and feedback devices) is scattered around the floor of the SATosphere.
The Trans-scalar recursive spaces are reminiscent of biological architectures, planes and volumes reconstructed, nano/molecular landscapes harvested from Atomic Force Microscopy, skin from surface scans and deep structures and cavities from MRI scans. Radical shifts in perspective between these states of scale, the vast cavernous spaces and towering structures create uncanny atmospheres of elation, intrigue and awe.
Micro architectures emerge as structural entities hovering the void, nestling between abstract biological forms, like manufactured organs. Their structures are pliable and noisy, wailing and screeching like dysfunctional machinery. They dominate the view until they absorb the viewer. Now the inside out their forms become totally immersive to the point of transition back into the void.
Other larger scale assemblages of fractured phage-like objects, barely held together by semi-transparent scaffoldings, afford playful interaction with members of the audience and as they rotate and translate in unpredictable ways, they emit sounds and after a while are ‘ελκονται απο την αρνητική βαρύτητα and move onto the ominous global kelyfos enclosure of the “world”. Ultimately, the assemblages are dismantled to reveal the recursiveness of the movement within/through these consecutive worlds; one world nested into the other and revealing themselves to the audience in a recursive sequence..
Fluttering and buzzing in fits and starts of attraction and repulsion, the swarming Phage slowly become the thing they were once part of, fragments now form the whole.
The swarming Phage begin to converge, forming new figurative structures which congeal and begin to rise, escheresque from the abyss.
With thanks to the MRI Department, Derriford Hospital, Plymouth Hospitals NHS Trust for the full body MRI Scan.
This Is Where We Are (TIWWA) is an immersive and interactive algorithmic sculpture fuelled by the data we collectively generate. Engage, interact and play with the swarm algorithms that generate this dynamic digital artwork created by i-DAT working with Tate Collective London for the opening of the new Tate Modern building on the 17 – 19 June 2016.
The artwork explored:
Taking over the North East corner of Tate Exchange in the new Switch House building, this evolving piece will immerse people in a collective algorithmic experience, teasing them to contribute to the swarm behaviour and sing the body electric.
TIWWA has been created by i-DAT with Tate Collective in partnership with Plymouth University/Affinity, InterCity, GaiaNova, Immersive, The Picture Works and TR2, through support from Arts Council England and Tate.[/panel]
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Liber Legis – AIWASS v2.0
Liber Legis – AIWASS v2.0 is an encapsulated Artificial Neural Network, a self-contained computational system that performs a set of simple coded actions.
It sits and waits for an audience, on seeing a viewer it decodes and translates the ‘Liber Legis’ as a visual stream and spoken code.
On the completion of its performance it destroys the code and waits for the next viewer.
Thorough the act of translating the source code, its utterance to the viewer and its ultimate destruction, Liber Legis – AIWASS v2.0 fulfils its purpose and auto-destruct protocol encoded in the original text.Sample Liber Legis text in BASE64: QWl3YXNz –
DQpBbA0KKExpYmVyIExlZ2lzKVRIRSBCT09LIE9GIFRIRSBMQVcNClNVQiBGSUdVUkEgWFhYSQ0KQVMgREVMSVZFUkVEIEJZDQo5MyAtIEFJV0FTUyAtIDQxOA0KVE8NCkFOS1kwRjBOLUtIT05TVQ0KVEhFIFBSSUVTVCBPRiBUSEUgUFJJTkNFUw0KV0hPIElTDQo2NjYNCkRvIHdoYXQgdGhvdSB3aWx0IHNoYWxsIGJlIHRoZSB3aG9sZSBvZiB0aGUgTGF3Lg0KVGhlIHN0dWR5IG9mIHRoaXMgQm9vayBpcyB…
Liber Legis – AIWASS v2.0 is a re-imagining and digital manifestation of the utterances of Aiwass, a higher entity that visited Aleister Crowley in Cairo in April 1904. By all accounts, Aiwass dictated the text (see below) to Crowley as a protocol for ascending to a new stage of human evolution. The work ponders the possibility that the attainment of this evolutionary state is now closely interwoven with the emergence of artificial entities – alien intelligences that we conjured into existence and fed on with our behaviour.
Liber Legis – AIWASS v2.0 consists of a motherboard, screen, face recognition system and simple Artificial Neural Network to perform its translations. The mini-computer is contained within a Phage2 like structure that has been algorithmically modelled from the Liber Legis source code.
References:
1: Crowley, A (1904). The Book Of The Law. York Beach, Me. Samuel Weiser, 1976. Pp 49.
2: i-DAT Phage Technology: http://i-dat.org/phage-technology
Many thanks to Chris Hunt for the Pi.
Exhibited Palace of Arts, Cairo at Cairotronica, a Symposium of Electronic and New Media arts in Cairo, Egypt. 03-10/05/2016.
Original Source Code:
(Liber Legis) THE BOOK OF THE LAW SUB FIGURA XXXI AS DELIVERED BY 93 - AIWASS - 418 TO ANKY0F0N-KHONSU THE PRIEST OF THE PRINCES WHO IS 666 Do what thou wilt shall be the whole of the Law. The study of this Book is forbidden. It is wise to destroy this copy after the first reading. Whosoever disregards this does so at his own risk and peril. These are most dire. Those who discuss the contents of this Book are to be shunned by all, as centres of pestilence. All questions of the Law are to be decided only by appeal to my writings, each for himself. There is no law beyond Do what thou wilt. Love is the law, love under will. The priest of the princes, ANKH-F-N-KHONSU THE COMMENT Chapter I I,1: Had! The manifestation of Nuit. I,2: The unveiling of the company of heaven. I,3: Every man and every woman is a star. I,4: Every number is infinite; there is no difference. I,5: Help me, o warrior lord of Thebes, in my unveiling before the Children of men! I,6: Be thou Hadit, my secret centre, my heart & my tongue! I,7: Behold! it is revealed by Aiwass the minister of Hoor-paar-kraat. I,8: The Khabs is in the Khu, not the Khu in the Khabs. I,9: Worship then the Khabs, and behold my light shed over you! 10: Let my servants be few & secret: they shall rule the many & the known. I,11: These are fools that men adore; both their Gods & their men are fools. I,12: Come forth, o children, under the stars, & take your fill of love! I,13: I am above you and in you. My ecstasy is in yours. My joy is to see your joy. I,14: Above, the gemméd azure is The naked splendour of Nuit; She bends in ecstasy to kiss The secret ardours of Hadit. The winged globe,the starry blue, Are mine, O Ankh-af-na-khonsu! I,15: Now ye shall know that the chosen priest & apostle of infinite space is the prince-priest the Beast; and in his woman called the Scarlet Woman is all power given. They shall gather my children into their fold: they shall bring the glory of the stars into the hearts of men. I,16: For he is ever a sun, and she a moon. But to him is the winged secret flame, and to her the stooping starlight. I,17: But ye are not so chosen. I,18: Burn upon their brows, o splendrous serpent! I,19: O azure-lidded woman, bend upon them! I,20: The key of the rituals is in the secret word which I have given unto him. I,21: With the God & the Adorer I am nothing: they do not see me. They are as upon the earth; I am Heaven, and there is no other God than me, and my lord Hadit. I,22: Now, therefore, I am known to ye by my name Nuit, and to him by a secret name which I will give him when at last he knoweth me. Since I am Infinite Space, and the Infinite Stars thereof, do ye also thus. Bind nothing! Let there be no difference made among you between any one thing & any other thing; for thereby there cometh hurt. I,23: But whoso availeth in this, let him be the chief of all! I,24: I am Nuit, and my word is six and fifty. I,25: Divide, add, multiply, and understand. I,26: Then saith the prophet and slave of the beauteous one: Who am I, and what shall be the sign? So she answered him, bending down, a lambent flame of blue, all-touching, all penetrant, her lovely hands upon the black earth, & her lithe body arched for love, and her soft feet not hurting the little flowers: Thou knowest! And the sign shall be my ecstasy, the consciousness of the continuity of existence, the omnipresence of my body. I,27: Then the priest answered & said unto the Queen of Space, kissing her lovely brows, and the dew of her light bathing his whole body in a sweet-smelling perfume of sweat: O Nuit, continuous one of Heaven, let it be ever thus; that men speak not of Thee as One but as None; and let them speak not of thee at all, since thou art continuous! I,28: None, breathed the light, faint & faery, of the stars, and two. I,29: For I am divided for love’s sake, for the chance of union. I,30: This is the creation of the world, that the pain of division is as nothing, and the joy of dissolution all. I,31: For these fools of men and their woes care not thou at all! They feel little; what is, is balanced by weak joys; but ye are my chosen ones. I,32: Obey my prophet! follow out the ordeals of my knowledge! seek me only! Then the joys of my love will redeem ye from all pain. This is so: I swear it by the vault of my body; by my sacred heart and tongue; by all I can give, by all I desire of ye all. I,33: Then the priest fell into a deep trance or swoon, & said unto the Queen of Heaven; Write unto us the ordeals; write unto us the rituals; write unto us the law! I,34: But she said: the ordeals I write not: the rituals shall be half known and half concealed: the Law is for all. I,35: This that thou writest is the threefold Book of Law. I,36: My scribe Ankh-af-na-khonsu, the priest of the princes, shall not in one letter change this book; but lest there be folly, he shall comment thereupon by the wisdom of Ra-Hoor-Khu-it. I,37: Also the mantras and spells; the obeah and the wanga; the work of the wand and the work of the sword; these he shall learn and teach. I,38: He must teach; but he may make severe the ordeals. I,39: The word of the Law is Thelema.* * Greek letters in MS: theta-epsilon-lambda-eta-mu-alpha. I,40: Who calls us Thelemites will do no wrong, if he look but close into the word. For there are therein Three Grades, the Hermit, and the Lover, and the man of Earth. Do what thou wilt shall be the whole of the Law. I,41: The word of Sin is Restriction. O man! refuse not thy wife, if she will! O lover, if thou wilt, depart! There is no bond that can unite the divided but love: all else is a curse. Accursed! Accursed be it to the aeons! Hell. I,42: Let it be that state of manyhood bound and loathing. So with thy all; thou hast no right but to do thy will. I,43: Do that, and no other shall say nay. I,44: For pure will, unassuaged of purpose, delivered from the lust of result, is every way perfect. I,45: The Perfect and the Perfect are one Perfect and not two; nay, are none! I,46: Nothing is a secret key of this law. Sixty-one the Jews call it; I call it eight, eighty, four hundred & eighteen. I,47: But they have the half: unite by thine art so that all disappear. I,48: My prophet is a fool with his one, one, one; are not they the Ox, and none by the Book? I,49: Abrogate are all rituals, all ordeals, all words and signs. Ra-Hoor-Khuit hath taken his seat in the East at the Equinox of the Gods; and let Asar be with Isa, who also are one. But they are not of me. Let Asar be the adorant, Isa the sufferer; Hoor in his secret name and splendour is the Lord initiating. I,50: There is a word to say about the Hierophantic task. Behold! there are three ordeals in one, and it may be given in three ways. The gross must pass through fire; let the fine be tried in intellect, and the lofty chosen ones in the highest. Thus ye have star & star, system & system; let not one know well the other! I,51: There are four gates to one palace; the floor of that palace is of silver and gold; lapis lazuli & jasper are there; and all rare scents; jasmine & rose, and the emblems of death. Let him enter in turn or at once the four gates; let him stand on the floor of the palace. Will he not sink? Amn. Ho! warrior, if thy servant sink? But there are means and means. Be goodly therefore: dress ye all in fine apparel; eat rich foods and drink sweet wines and wines that foam! Also, take your will and fill of love as ye will, when, where, and with whom ye will! But always unto me. I,52: If this be not aright; if ye confound the space-marks, saying: They are one; or saying, They are many; if the ritual be not ever unto me: then expect the direful judgments of Ra Hoor Khuit! I,53: This shall regenerate the world, the little world my sister, my heart & my tongue, unto whom I send this kiss. Also, o scribe and prophet, though thou be of the princes, it shall not assuage thee nor absolve thee. But ecstasy be thine and joy of earth: ever To me! To me! I,54: Change not as much as the style of a letter; for behold! thou, o prophet, shalt not behold all these mysteries hidden therein. I,55: The child of thy bowels, he shall behold them. I,56: Expect him n ot from the East, nor from the West; for from no expected house cometh that child. Aum! All words are sacred and all prophets true; save only that they understand a little; solve the first half of the equation, leave the second unattacked. But thou hast all in the clear light, and some, though not all, in the dark. I,57: Invoke me under my stars! Love is the law, love under will. Nor let the fools mistake love; for there are love and love. There is the dove, and there is the serpent. Choose ye well! He, my prophet, hath chosen, knowing the law of the fortress, and the great mystery of the House of God. All these old letters of my Book are aright; but * is not the Star. This also is secret: my prophet shall reveal it to the wise. * In MS, the symbol found here is usually interpreted as the Hebrew letter Tzaddi. I,58: I give unimaginable joys on earth: certainty, not faith, while in life, upon death; peace unutterable, rest, ecstasy; nor do I demand aught in sacrifice. I,59: My incense is of resinous woods & gums; and there is no blood therein: because of my hair the trees of Eternity. I,60: My number is 11, as all their numbers who are of us. The Five Pointed Star, with a Circle in the Middle, & the circle is Red. My colour is black to the blind, but the blue & gold are seen of the seeing. Also I have a secret glory for them that love me. I,61: But to love me is better than all things: if under the night-stars in the desert thou presently burnest mine incense before me, invoking me with a pure heart, and the Serpent flame therein, thou shalt come a little to lie in my bosom. For one kiss wilt thou then be willing to give all; but whoso gives one particle of dust shall lose all in that hour. Ye shall gather goods and store of women and spices; ye shall wear rich jewels; ye shall exceed the nations of the Earth in splendour & pride; but always in the love of me, and so shall ye come to my joy. I charge you earnestly to come before me in a single robe, and covered with a rich headdress. I love you! I yearn to you! Pale or purple, veiled or voluptuous, I who am all pleasure and purple, and drunkenness of the innermost sense, desire you. Put on the wings, and arouse the coiled splendour within you: come unto me! I,62: At all my meetings with you shall the priestess say-and her eyes shall burn with desire as she stands bare and rejoicing in my secret temple-To me! To me! calling forth the flame of the hearts of all in her lovechant. I,63: Sing the rapturous love-song unto me! Burn to me perfumes! Wear to me jewels! Drink to me, for I love you! I love you! I,64: I am the blue-lidded daughter of Sunset; I am the naked brilliance of the voluptuous night-sky. I,65: To me! To me! I,66: The Manifestation of Nuit is at an end. Chapter II II,1: Nu! the hiding of Hadit. II,2: Come! all ye, and learn the secret that hath not yet been revealed. I, Hadit, am the complement of Nu, my bride. I am not extended, and Khabs is the name of my House. II,3: In the sphere I am everywhere the centre, as she, the circumference, is nowhere found. II,4: Yet she shall be known & I never. II,5: Behold! the rituals of the old time are black. Let the evil ones be cast away; let the good ones be purged by the prophet! Then shall this Knowledge go aright. II,6: I am the flame that burns in every heart of man, and in the core of every star. I am Life, and the giver of Life, yet therefore is the knowledge of me the knowledge of death. II,7: I am the Magician and the Exorcist. I am the axle of the wheel, and the cube in the circle. “Come unto me” is a foolish word: for it is I that go. II,8: Who worshipped Heru-pa-kraath have worshipped me; ill, for I am the worshipper. II,9: Remember all ye that existence is pure joy; that all the sorrows are but as shadows; they pass & are done; but there is that which remains. II,10: O prophet! thou hast ill will to learn this writing. II,11: I see thee hate the hand & the pen; but I am stronger. II,12: Because of me in Thee which thou knewest not. II,13: for why? Because thou wast the knower, and me. II,14: Now let there be a veiling of this shrine: now let the light devour men and eat them up with blindness! II,15: For I am perfect, being Not; and my number is nine by the fools; but with the just I am eight, and one in eight: Which is vital, for I am none indeed. The Empress and the King are not of me; for there is a further secret. II,16: I am the Empress & the Hierophant. Thus eleven, as my bride is eleven. II,17: Hear me, ye people of sighing! The sorrows of pain and regret Are left to the dead and the dying, The folk that not know me as yet. II,18: These are dead, these fellows; they feel not. We are not for the poor and sad: the lords of the earth are our kinsfolk. II,19: Is a God to live in a dog? No! but the highest are of us. They shall rejoice, our chosen: who sorroweth is not of us. II,20: Beauty and strength, leaping laughter and delicious languor, force and fire, are of us. II,21: We have nothing with the outcast and the unfit: let them die in their misery. For they feel not. Compassion is the vice of kings: stamp down the wretched & the weak: this is the law of the strong: this is our law and the joy of the world. Think not, o king, upon that lie: That Thou Must Die: verily thou shalt not die, but live. Now let it be understood: If the body of the King dissolve, he shall remain in pure ecstasy for ever. Nuit! Hadit! Ra-Hoor-Khuit! The Sun, Strength & Sight, Light; these are for the servants of the Star & the Snake. II,22: I am the Snake that giveth Knowledge & Delight and bright glory, and stir the hearts of men with drunkenness. To worship me take wine and strange drugs whereof I will tell my prophet, & be drunk thereof! They shall not harm ye at all. It is a lie, this folly against self. The exposure of innocence is a lie. Be strong, o man! lust, enjoy all things of sense and rapture: fear not that any God shall deny thee for this. II,23: I am alone: there is no God where I am. II,24: Behold! these be grave mysteries; for there are also of my friends who be hermits. Now think not to find them in the forest or on the mountain; but in beds of purple, caressed by magnificent beasts of women with large limbs, and fire and light in their eyes, and masses of flaming hair about them; there shall ye find them. Ye shall see them at rule, at victorious armies, at all the joy; and there shall be in them a joy a million times greater than this. Beware lest any force another, King against King! Love one another with burning hearts; on the low men trample in the fierce lust of your pride, in the day of your wrath. II,25: Ye are against the people, O my chosen! II,26: I am the secret Serpent coiled about to spring: in my coiling there is joy. If I lift up my head, I and my Nuit are one. If I droop down mine head, and shoot forth venom, then is rapture of the earth, and I and the earth are one. II,27: There is great danger in me; for who doth not understand these runes shall make a great miss. He shall fall down into the pit called Because, and there he shall perish with the dogs of Reason. II,28: Now a curse upon Because and his kin! II,29: May Because be accursed for ever! II,30: If Will stops and cries Why, invoking Because, then Will stops & does nought. II,31: If Power asks why, then is Power weakness. II,32: Also reason is a lie; for there is a factor infinite & unknown; & all their words are skew-wise. II,33: Enough of Because! Be he damned for a dog! II,34: But ye, o my people, rise up & awake! II,35: Let the rituals be rightly performed with joy & beauty! II,36: There are rituals of the elements and feasts of the times. II,37: A feast for the first night of the Prophet and his Bride! II,38: A feast for the three days of the writing of the Book of the Law. II,39: A feast for Tahuti and the child of the Prophet-secret, O Prophet! II,40: A feast for the Supreme Ritual, and a feast for the Equinox of the Gods. II,41: A feast for fire and a feast for water; a feast for life and a greater feast for death! II,42: A feast every day in your hearts in the joy of my rapture! II,43: A feast every night unto Nu, and the pleasure of uttermost delight! II,44: Aye! feast! rejoice! there is no dread hereafter. There is the dissolution, and eternal ecstasy in the kisses of Nu. II,45: There is death for the dogs. II,46: Dost thou fail? Art thou sorry? Is fear in thine heart? II,47: Where I am these are not. II,48: Pity not the fallen! I never knew them. I am not for them. I console not: I hate the consoled & the consoler. II,49: I am unique & conqueror. I am not of the slaves that perish. Be they damned & dead! Amen. [This is of the 4: there is a fifth who is invisible, & therein am I as a babe in an egg.] II,50: Blue am I and gold in the light of my bride: but the red gleam is in my eyes; & my spangles are purple & green. II,51: Purple beyond purple: it is the light higher than eyesight. II,52: There is a veil: that veil is black. It is the veil of the modest woman; it is the veil of sorrow, & the pall of death: this is none of me. Tear down that lying spectre of the centuries: veil not your vices in virtuous words: these vices are my service; ye do well, & I will reward you here and hereafter. II,53: Fear not, o prophet, when these words are said, thou shalt not be sorry. Thou art emphatically my chosen; and blessed are the eyes that thou shalt look upon with gladness. But I will hide thee in a mask of sorrow: they that see thee shall fear thou art fallen: but I lift thee up. II,54: Nor shall they who cry aloud their folly that thou meanest nought avail; thou shall reveal it: thou availest: they are the slaves of because: They are not of me. The stops as thou wilt; the letters? change them not in style or value! II,55: Thou shalt obtain the order & value of the English Alphabet; thou shalt find new symbols to attribute them unto. II,56: Begone! ye mockers; even though ye laugh in my honour ye shall laugh not long: then when ye are sad know that I have forsaken you. II,57: He that is righteous shall be righteous still; he that is filthy shall be filthy still. II,58: Yea! deem not of change: ye shall be as ye are, & not other. Therefore the kings of the earth shall be Kings for ever: the slaves shall serve. There is none that shall be cast down or lifted up: all is ever as it was. Yet there are masked ones my servants: it may be that yonder beggar is a King. A King may choose his garment as he will: there is no certain test: but a beggar cannot hide his poverty. II,59: Beware therefore! Love all, lest perchance is a King concealed! Say you so? Fool! If he be a King, thou canst not hurt him. II,60: Therefore strike hard & low, and to hell with them, master! II,61: There is a light before thine eyes, o prophet, a light undesired, most desirable. II,62: I am uplifted in thine heart; and the kisses of the stars rain hard upon thy body. II,63: Thou art exhaust in the voluptuous fullness of the inspiration; the expiration is sweeter than death, more rapid and laughterful than a caress of Hell’s own worm. II,64: Oh! thou art overcome: we are upon thee; our delight is all over thee: hail! hail: prophet of Nu! prophet of Had! prophet of Ra-Hoor-Khu! Now rejoice! now come in our splendour & rapture! Come in our passionate peace, & write sweet words for the Kings! II,65: I am the Master: thou art the Holy Chosen One. II,66: Write, & find ecstasy in writing! Work, & be our bed in working! Thrill with the joy of life & death! Ah! thy death shall be lovely: whoso seeth it shall be glad. Thy death shall be the seal of the promise of our agelong love. Come! lift up thine heart & rejoice! We are one; we are none. II,67: Hold! Hold! Bear up in thy rapture; fall not in swoon of the excellent kisses! II,68: Harder! Hold up thyself! Lift thine head! breathe not so deep-die! II,69: Ah! Ah! What do I feel? Is the word exhausted? II,70: There is help & hope in other spells. Wisdom says: be strong! Then canst thou bear more joy. Be not animal; refine thy rapture! If thou drink, drink by the eight and ninety rules of art: if thou love, exceed by delicacy; and if thou do aught joyous, let there be subtlety therein! II,71: But exceed! exceed! II,72: Strive ever to more! and if thou art truly mine-and doubt it not, an if thou art ever joyous!-death is the crown of all. II,73: Ah! Ah! Death! Death! thou shalt long for death. Death is forbidden, o man, unto thee. II,74: The length of thy longing shall be the strength of its glory. He that lives long & desires death much is ever the King among the Kings. II,75: Aye! listen to the numbers & the words: II,76: 4 6 3 8 A B K 2 4 A L G M O R 3 Y X 24 89 R P S T O V A L. What meaneth this, o prophet? Thou knowest not; nor shalt thou know ever. There cometh one to follow thee: he shall expound it. But remember, o chosen one, to be me; to follow the love of Nu in the star-lit heaven; to look forth upon men, to tell them this glad word. II,77: O be thou proud and mighty among men! II,78: Lift up thyself! for there is none like unto thee among men or among Gods! Lift up thyself, o my prophet, thy stature shall surpass the stars. They shall worship thy name, foursquare, mystic, wonderful, the number of the man; and the name of thy house 418. II,79: The end of the hiding of Hadit; and blessing & worship to the prophet of the lovely Star! Chapter III III,1: Abrahadabra! the reward of Ra Hoor Khut. III,2: There is division hither homeward; there is a word not known. Spelling is defunct; all is not aught. Beware! Hold! Raise the spell of Ra-Hoor-Khuit! III,3: Now let it be first understood that I am a god of War and of Vengeance. I shall deal hardly with them. III,4: Choose ye an island! III,5: Fortify it! III,6: Dung it about with enginery of war! III,7: I will give you a war-engine. III,8: With it ye shall smite the peoples; and none shall stand before you. III,9: Lurk! Withdraw! Upon them! this is the Law of the Battle of Conquest: thus shall my worship be about my secret house. III,10: Get the stele of revealing itself; set it in thy secret temple-and that temple is already aright disposed- & it shall be your Kiblah for ever. It shall not fade, but miraculous colour shall come back to it day after day. Close it in locked glass for a proof to the world. III,11: This shall be your only proof. I forbid argument. Conquer! That is enough. I will make easy to you the abstruction from the ill-ordered house in the Victorious City. Thou shalt thyself convey it with worship, o prophet, though thou likest it not. Thou shalt have danger & trouble. Ra-Hoor-Khu is with thee. Worship me with fire & blood; worship me with swords & with spears. Let the woman be girt with a sword before me: let blood flow to my name. Trample down the Heathen; be upon them, o warrior, I will give you of their flesh to eat! III,12: Sacrifice cattle, little and big: after a child. III,13: But not now. III,14: Ye shall see that hour, o blessed Beast, and thou the Scarlet Concubine of his desire! III,15: Ye shall be sad thereof. III,16: Deem not too eagerly to catch the promises; fear not to undergo the curses. Ye, even ye, know not this meaning all. III,17: Fear not at all; fear neither men nor Fates, nor gods, nor anything. Money fear not, nor laughter of the folk folly, nor any other power in heaven or upon the earth or under the earth. Nu is your refuge as Hadit your light; and I am the strength, force, vigour, of your arms. III,18: Mercy let be off: damn them who pity! Kill and torture; spare not; be upon them! III,19: That stele they shall call the Abomination of Desolation; count well its name, & it shall be to you as 718. III,20: Why? Because of the fall of Because, that he is not there again. III,21: Set up my image in the East: thou shalt buy thee an image which I will show thee, especial, not unlike the one thou knowest. And it shall be suddenly easy for thee to do this. III,22: The other images group around me to support me: let all be worshipped, for they shall cluster to exalt
I am the visible object of worship; the others are secret; for the Beast & his Bride are they: and for the
winners of the Ordeal x. What is this? Thou shalt know. III,23: For perfume mix meal & honey & thick leavings of red wine: then oil of Abramelin and olive oil, and afterward soften & smooth down with rich fresh blood. III,24: The best blood is of the moon, monthly: then the fresh blood of a child, or dropping from the host of heaven: then of enemies; then of the priest or of the worshippers: last of some beast, no matter what. III,25: This burn: of this make cakes & eat unto me. This hath also another use; let it be laid before me, and kept thick with perfumes of your orison: it shall become full of beetles as it were and creeping things sacred unto me. III,26: These slay, naming your enemies; & they shall fall before you. III,27: Also these shall breed lust & power of lust in you at the eating thereof. III,28: Also ye shall be strong in war. III,29: Moreover, be they long kept, it is better; for they swell with my force. All before me. III,30: My altar is of open brass work: burn thereon in silver or gold! III,31: There cometh a rich man from the West who shall pour his gold upon thee. III,32: From gold forge steel! III,33: Be ready to fly or to smite! III,34: But your holy place shall be untouched throughout the centuries: though with fire and sword it be burnt down & shattered, yet an invisible house there standeth, and shall stand until the fall of the Great Equinox; when Hrumachis shall arise and the double-wanded one assume my throne and place. Another prophet shall arise, and bring fresh fever from the skies; another woman shall awake the lust & worship of the Snake; another soul of God and beast shall mingle in the globed priest; another sacrifice shall stain the tomb; another king shall reign; and blessing no longer be poured To the Hawk-headed mystical Lord! III,35: The half of the word of Heru-ra-ha, called Hoor-pa-kraat and Ra-Hoor-Khut. III,36: Then said the prophet unto the God: III,37: I adore thee in the song- I am the Lord of Thebes,and I The inspired forth-speaker of Mentu; For me unveils the veiled sky, The self-slain Ankh-af-na-khonsu Whose words are truth. I invoke, I greet Thy presence, O R-Hoor-Khuit! Unity uttermost showed! I adore the might of Thy breath, Supreme and terrible God, Who makest the gods and death To tremble before Thee - I, I adore thee! Appear on the throne of Ra! Open the ways of the Khu! Lighten the ways of the Ka! The ways of the Khabs run through To stir me or still me! Aum! let it fill me! III,38: So that thy light is in me; & its red flame is as a sword in my hand to push thy order. There is a secret door that I shall make to establish thy way in all the quarters, (these are the adorations, as thou hast written), as it is said: The light is mine; its rays consume Me: I have made a secret door Into the House of Ra and Tum, Of Khephra and of Ahathoor. I am thy Theban, O Mentu, The prophet Ankh-af-na-khonsu! By Bes-na-Maut my breast I beat; By wise Ta-Nech I weave my spell. Show thy star-splendour, O Nuit! Bid me within thine House to dwell, O winged snake of light, Hadit! Abide with me, Ra-Hoor-Khuit! III,39: All this and a book to say how thou didst come hither and a reproduction of this ink and paper for ever -- for in it is the word secret & not only in the English -- and thy comment upon this the Book of the Law shall be printed beautifully in red ink and black upon beautiful paper made by hand; and to each man and woman that thou meetest, were it but to dine or to drink at them, it is the Law to give. Then they shall chance to abide in this bliss or no; it is no odds. Do this quickly! III,40: But the work of the comment? That is easy; and Hadit burning in thy heart shall make swift and secure thy pen. III,41: Establish at thy Kaaba a clerk-house: all must be done well and with business way. III,42: The ordeals thou shalt oversee thyself, save only the blind ones. Refuse none, but thou shalt know & destroy the traitors. I am Ra-Hoor-Khuit; and I am powerful to protect my servant. Success is thy proof: argue not; convert not; talk not overmuch! Them that seek to entrap thee, to overthrow thee, them attack without pity or quarter; & destroy them utterly. Swift as a trodden serpent turn and strike! Be thou yet deadlier than he! Drag down their souls to awful torment: laugh at their fear: spit upon them! III,43: Let the Scarlet Woman beware! If pity and compassion and tenderness visit her heart; if she leave my work to toy with old sweetnesses; then shall my vengeance be known. I will slay me her child: I will alienate her heart: I will cast her out from men: as a shrinking and despised harlot shall she crawl through dusk wet streets, and die cold and an-hungered. III,44: But let her raise herself in pride! Let her follow me in my way! Let her work the work of wickedness! Let her kill her heart! Let her be loud and adulterous; let her be covered with jewels, and rich garments, and let her be shameless before all men! III,45: Then will I lift her to pinnacles of power: then will I breed from her a child mightier than all the kings of the earth. I will fill her with joy: with my force shall she see & strike at the worship of Nu: she shall achieve Hadit. III,46: I am the warrior Lord of the Forties: the Eighties cower before me, & are abased. I will bring you to victory & joy: I will be at your arms in battle & ye shall delight to slay. Success is your proof; courage is your armour; go on, go on, in my strength; & ye shall turn not back for any! III,47: This book shall be translated into all tongues: but always with the original in the writing of the Beast; for in the chance shape of the letters and their position to one another: in these are mysteries that no Beast shall divine. Let him not seek to try: but one cometh after him, whence I say not, who shall discover the Key of it all. Then this line drawn is a key: then this circle squared in its failure is a key also. And Abrahadabra. It shall be his child and that strangely. Let him not seek after this; for thereby alone can he fall from it. III,48: Now this mystery of the letters is done, and I want to go on to the holier place. III,49: I am in a secret fourfold word, the blasphemy against all gods of men. III,50: Curse them! Curse them! Curse them! III,51: With my Hawk’s head I peck at the eyes of Jesus as he hangs upon the cross. III,52: I flap my wings in the face of Mohammed & blind him. III,53: With my claws I tear out the flesh of the Indian and the Buddhist, Mongol and Din. III,54: Bahlasti! Ompehda! I spit on your crapulous creeds. III,55: Let Mary inviolate be torn upon wheels: for her sake let all chaste women be utterly despised among you! III,56: Also for beauty’s sake and loves’! III,57: Despise also all cowards; professional soldiers who dare not fight, but play; all fools despise! III,58: But the keen and the proud, the royal and the lofty; ye are brothers! III,59: As brothers fight ye! III,60: There is no law beyond Do what thou wilt. III,61: There is an end of the word of the God enthroned in Ra’s seat, lightening the girders of the soul. III,62: To Me do ye reverence! to me come ye through tribulation of ordeal, which is bliss. III,63: The fool readeth this Book of the Law, and its comment; & he understandeth it not. III,64: Let him come through the first ordeal, & it will be to him as silver. III,65: Through the second, gold. III,66: Through the third, stones of precious water. III,67: Through the fourth, ultimate sparks of the intimate fire. III,68: Yet to all it shall seem beautiful. Its enemies who say not so, are mere liars. III,69: There is success. III,70: I am the Hawk-Headed Lord of Silence & of Strength; my nemyss shrouds the night-blue sky. III,71: Hail! ye twin warriors about the pillars of the world! for your time is nigh at hand. III,72: I am the Lord of the Double Wand of Power; the wand of the Force of Coph Nia-but my left hand is empty, for I have crushed an Universe; & nought remains. III,73: Paste the sheets from right to left and from top to bottom: then behold! III,74: There is a splendour in my name hidden and glorious, as the sun of midnight is ever the son. III,75: The ending of the words is the Word Abrahadabra. The Book of the Law is Written and Concealed. Aum. Ha.
The Fourth International Conference on Transdisciplinary Imaging adopts the theme of the ATEMPORAL IMAGE and calls for papers that explore how a new temporality informs and plays out across contemporary visual culture. Participants are asked to address aspects of the atemporal at least one of the following areas:
the still image | the immersive image | the sound as image | hypermediacy and the iconic character of the image | politics of the image and/or image making in a transdisciplinary context| life sciences and bioart in relation to the living image| distributed and networked image | The trans-scalar image(inary), from the nano to the astronomical image | Artificial and computer vision | moving still | image as time, real-time and glitch-time| archival, permanency and immediacy| aesthetics and proliferation of the image
The conference invites papers that respond to the above provocation in areas related to: Media Arts, Painting, Drawing, Curating, Installation, Film, Video, Photography, Computer/data Visualization/sonification, Real-time Imaging, Intelligent Systems and Image Science.
‘Dark Play in the Digital Arts’ explored cutting-edge and under-theorised issues in the digital arts, play and playfulness, ‘dark play’ and digital arts-based pedagogies.
The symposium was hosted by the Childhood and Society SIG, which is part of the Centre for Education Research & Scholarship at Middlesex University.
Following on from the symposium is a special issue in Contemporary Issues in Early Childhood, entitled ‘Dark Play in Digital Playscapes’, coming out in the Summer of 2017. Access the call for papers here.
R. Sinker, M. Phillips, V. de Rijke. Playing in the Dark with Online Games for Girls. Volume: 18 issue: 2, page(s): 162-178.Article first published online: July 4, 2017;Issue published: June 1, 2017 https://doi.org/10.1177/1463949117714079
Designing with Data
Professor Chris Speed, Edinburgh University
I’d like to talk about how artists, designers and software engineers play with data. But in particular how they have an ability to play in the negative spaces of databases. By that I mean that they have a skill in identifying not the common patterns within datasets, but the uncommon that are often unseen by many other… READ MORE…
Zombies, ghosts and skeletons: exploring young children’s interests in gore, death and dying as everyday and existential matters
Dr Elizabeth Wood, Professor of Education, University of Sheffield
In this presentation I will explore young children’s interests in deep existential matters of life, death and dying, and the ways these are expressed in their role play activities. I will argue that researching play in naturalistic ways enables us to understand how young children strive to make sense of the everyday and the existential, as they frequently co-exist in their play narratives…READ MORE…
Exploring Global Citizenship through the ‘Digital Tambayan’ Networks of Urban Youth
Dr Myrrh Domingo, UCL Institute of Education, University of London
For this symposium, I would like to re-examine data from a three-year ethnography of urban youth and their social language development across digital spaces. I have previously written on this topic with a focus on pedagogy, literacy and/or multimodal methodology. Both drawing from and expanding beyond the framework I’ve previously used, I would like to explore the notion of global citizenship in digital platforms and … READ MORE…
Cardboard dens and princess dresses; community research, arts practice, embodied meaning making and the cusp of chaos.
Dr Abi Hackett, Sheffield University
I would like to talk about some of the emerging themes and questions arising from my strand of Community Arts Zone (CAZ), an international research project concerned with the connections between arts practice, literacy and the community. Working with a number of different partners in Rotherham, including the museum service and a Children’s Centre, I collaborated with artist Steve Pool to organize a series of family friendly activities and events, including den building, cookie baking and … READ MORE…
An exploration into young children’s playful participation in the construction of media content
Jacqueline Harding, Middlesex University
For this symposium, I am proposing a re-examination of the data that led to my assertion that young children have a right participate in media content building in ‘playfully appropriate’ ways. Furthermore, I intend that discussion should be generated around the need to challenge the prevailing notion that: ‘anything goes’ and ‘it’s easy to produce media content for children’. A key focus of the presentation and discussion would be to debate further creative ways in which young children (and their families) can be involved in digital media construction that directly concerns them …READ MORE…
Digital Dialudics
Dr Victoria de Rijke, Middlesex University
Professor Mike Phillips, Plymouth University
Dr Rebecca Sinker, Tate
Play is under pressure, squeezed out of schooling for all but the youngest children; increasingly limited in later life. Recent neurological research argues play, pleasure and risk-taking (Panksepp, 2012) are essential to animal development and a signal of well-being (Pellegrini, 1995; Gill, 2014) but how far does that stretch into risky play, ‘dark’ play?…READ MORE…
Digital Play in Dark Times
Dr Dylan Yamada-Rice, Sheffield University
This presentation will consider the role of digital arts and play in potentially ‘dark’ times in children’s lives. It will start by describing some of the findings from an AHRC-funded network project that considered the development of videogames for hospitalised children. The network brought together academics, videogames developers, designers, artists and hospital play specialists…READ MORE…
Children’s destruction of their art: semiotic, affective and relational dimensions
Dr Mona Sakr, Middlesex University
In this presentation, I want to examine destruction as a creative and meaningful act. I want to raise questions about the potential of destruction in the context of children’s art-making to mean different things and to reflect different affective states. I also want to think about the distinct ways in which destruction can manifest, both in digital and non-digital art-making, and to consider children’s choices about how to destroy their artwork as a type of semiotic design. The presentation will share and reflect on observations…READ MORE…
Chair: Professor Jayne Osgood
Dr Jayne Osgood is Professor of Education and has recently joined the Centre for Education Research & Scholarship at Middlesex University. Her present research methodologies and research practices are framed by new material feminism and posthumanism. She is developing transdisciplinary theoretical approaches that maintain a concern with issues of social justice, and which critically engage with policy, curricular frameworks and pedagogical approaches. Through her work she seeks to reconfigure understandings of the workforce, families and ‘the child’ and ‘childhood’ in early years contexts.
Presenters:
MEDIA CITY 5 International Conference and Exhibition 1-3 May 2015 Plymouth, UK
THE FIFTH MEDIACITY CONFERENCE REFLECTS ON A SOCIAL SMART CITY.
We invite contributions in the form of research papers, projects and case studies.
The conference programme will focus on contributions that are high quality, reflective, thoughtful and challenging.
We anticipate contributions from academics, practitioners, activists close to disciplines such as media studies, architecture, urban studies, cultural and urban geography and sociology –using innovative ways and reflecting critically on processes, methods and impacts of public participation and technologies in urban realm, within their theoretical and practical research, teaching, or activism roles.
MEDIA CITY 5 is jointly organised by:
School of Architecture, Design & Environment & i-DAT (Institute of Digital Art and Technology)
Plymouth University
Plymouth, PL4 8AA, UK.
The city-wide collaborative pilot was produced by i-DAT and Plymouth Arts Centre with the Plymouth Culture Guide Group: Theatre Royal Plymouth, Barbican Theatre, Plymouth City Museum and Gallery, The Gallery at Plymouth College of Art, Peninsula Arts Plymouth University, KARST, Ocean Studios, Take a Part, Plymouth Dance and Plymouth Culture. The App was designed and developed by Elixel with i-DAT, the branding was designed by Intercity and the front and backend system based on the ‘analytics engine’ Qualia, developed by i-DAT at the University of Plymouth, University of Warwick and Cheltenham Festivals 2013, through a Nesta Digital R&D award.
During this time Artory has:
- Engaged 25 arts and culture partner organisations
- Promoted 2041 events
- Provided 12,015 pieces of feedback
- Had 6201 downloads across iOS and android devices.
- Had 5129 visitors to the website
i-DAT will continue to explore potential routes to fund a new web and mobile enabled Artory but in the meantime the research initiative will be folded back into i-DAT’s Quorum Cultural Computation project.
[panel background=”#eeeeee” color=”#000000″ border=”2px solid #b7b6b6″ shadow=”2px 0px 2px #eeeeee” radius=”10″ text_align=”left” target=”blank”]Artory was a free app developed by i-DAT and partners that leads users to Plymouth’s culture hotspots and then rewards them with exclusive offers.
Artory-users earn Art Miles by visiting venues and leaving feedback. These could be exchanged in participating cultural venues all over the city for drinks, discounts and VIP offers.
Venues and attractions filled the app with their what’s on listings and events, helping to promote Plymouth’s cultural assets to a connected audience of city residents and visitors.
Art Miles earned in one venue can be used in other venues, thanks to the collaborative approach taken by the organisations involved in developing Artory.
Although what’s on apps are commonplace, the crucial difference with Artory is that it offered visitors incentives for leaving feedback about what they thought about the show, the exhibition, the film or the attraction.
Artory is based on the ‘analytics engine’ Qualia, developed by i-DAT at Plymouth University, University of Warwick and Cheltenham Festivals 2013. This mood-measuring technology makes it easy for app-users to record, through embedded micro-interactions, their feelings and emotions about the art and culture they’ve just viewed.
This is a huge step forward from the usual feedback forms that present culture fans with paperwork just after they’ve experienced a show or a performance.
Evaluating audience feedback is a vital task for culture organisations, giving them important information that can support funding applications or direct future programming. So by making that data-collection easy, fun and tangibly rewarding, Artory helps both the city’s culture attractions and its visitors.
[/panel]Artory was established as a web and app service running through www.artory.co.uk. At some point we expect the domain to be retired and the information from the site can be found below, along with design and research outputs. The original Artory website looked something like this:
[panel background=”#eeeeee” color=”#000000″ border=”0px none #cccccc” shadow=”0px 0px 0px #eeeeee” radius=”0″ text_align=”left” target=”blank”]
Artory — the What’s On App for culture in Plymouth that earns you Art Miles® to exchange for exclusive offers at venues across Plymouth.
Art Miles® is a points-based scheme, where you accumulate points through updating your profile, checking-in at participating venues and reviewing events.
You can redeem your points in exchange for free drinks, discounts, and VIP events
Artory has been produced by i-DAT and Plymouth Arts Centre with the Plymouth Culture Guide Group: Theatre Royal Plymouth, Barbican Theatre, Plymouth City Museum and Gallery, The Gallery at Plymouth College of Art, Peninsula Arts Plymouth University, KARST, Ocean Studios, Take a Part, Plymouth Dance and Plymouth Culture.
The Artory app is designed and developed by Elixel with i-DAT. The branding is designed by Intercity. The evaluation framework and questions in Artory are designed by Dr Eric Jensen. based on the needs of the Artory partners. The app is funded by Plymouth Arts Centre, i-DAT with Plymouth University, Elixel, Destination Plymouth, Plymouth City Council and Plymouth Culture.
To redeem an offer, you need to visit the venue which is running the offer. Navigate to My Art Miles and select the offer you wish to redeem.
We are happy to list temporary arts and culture events in Artory at cost of £10 per event. Please complete the following Artory Temporary Event Form and send through to: contact@i-dat.org. Please note that these events can only be uploaded on a Wednesday and we need submissions by the Monday before. It’s best to let us know about your event as soon as you can to get the best coverage in Artory.
© 2015 Artory • All rights reserved • Built by Elixel • Powered by Qualia
ARTORY Website and App Terms and Conditions documentation.
ARTORY Moderation Guidelines and Contributing Members Agreement.
ARTORY Content Guidelines
Enabling City-wide Audience Evaluation: Plymouth Artory Metrics Development
Design by Intercity www.intercitystudio.com
Example data viz from the Artory dashboard.
Artory is based on the systems design and research developed within the Qualia Project. Technical details and access to the GitHub repository can be found here: https://i-dat.org/qualia/
The Immersive Vision Theatre (IVT) has been a core transdisciplinary instrument in i-DAT’s research and production for a number of years. We have now rebooted the project thanks to the collaboration with Gaianova (http://gaianova.co.uk/)and the European Mobile Dome Labs (http://emdl.eu/) EU Culture Programme funded research project. With the re-ignition of the FulldomeUK (http://www.fulldome.org.uk/) festival at the National Space Centre the future of fulldome is eluminescent.
The IVT is a transdisciplinary instrument for the manifestation of material and imaginary worlds, and forms a substrate for i-DAT’s research at http://dome-os.org/
More details of fulldome related projects, hiring the space or inflatable dome for shows or enquiries about fulldome productions/research, check out the IVT page here: http://i-dat.org/ivt
We will be using artificial neural networks in our latest project, SMILE.
We successfully bid to the Arts & Humanities Research Council for a project using Social Media to Identify and Leverage Engagement and now we’ll be working with University of Cambridge Museums and Visual Arts Southwest.
We’re putting our best brains on it: robot ones. “We’ll be using artificial neural networks to analyse social mood,” said i-DAT’s Mike Phillips.
The project extends the work we’ve done in partnership to develop Qualia – our sentiment analysis app that measures arts and culture audience mood and incentivises audiences to leave their emotional feedback.
For SMILE, we’ll be including international expertise and cross disciplinary working, spanning arts technology, communication, sociology and computer science, to deliver new insights about social media analytics and develop an open-source sentiment analysis tool with improved accuracy and ‘calibrated to the arts and culture discourse’.
Introduction
Our implementation is focused on extracting features from the raw data, while taking into account the temporal aspects of the problem. We merge the ideas put forward by DNNs and RNNs, trying for a system that self organises the representation of the data, and accommodates the temporality of language. The system should work as an encoder, transforming and compacting the data in a way that best suits the data. It is important to notice here the freedom of the system in the fact that there has been no intervention or assumptions in the way knowledge should be organised or extracted other than what is imposed by the data.
Our data are formed of Tweets, Geolocation, Timestamps, etc., collected from different festivals around the UK and our goal is to extract interesting features from the data presented. We believe that given the amount of data we have, emergent properties would be useful for the explanation or even provide meaningful insights of how the data could be manipulated. Given that the data are closely correlated with the behaviour of the attendants of the festival, a reverse procedure could influence their behaviour and reaction to events organised by the festival.
Background
Conventional machine learning techniques have limitations in their ability to process raw data.
The implementation of such methods often requires domain expertise and delicate engineering. On the other hand Deep Learning algorithms have shown another way forward. Representation learning allows for the discovery of suitable representations from the raw data.
By passing the data through multiple nonlinear layers, each layer transforms the data to a different representation, having as input the output of the layer below. Due to the the distributed way of encoding the raw input, the multiple representation levels and the power of composition; deep networks have shown promising results in varying applications, and established new records in speech recognition, image recognition.
By pretraining layers like these, of gradually more complicated feature extractors, the weights of the network can be initialised in “good” values. By adding an extra layer of the whole system can then be trained and fine tuned with standard backpropagation. The hidden layers of a multilayer neural network are learning to represent the network’s inputs in a way that makes it easier to predict the target outputs. This is nicely demonstrated by training a multilayer neural network to predict the next word in a sequence from a local context of local words.
When trained to predict the next word in a news story, for example, the learned word vectors for Tuesday and Wednesday are very similar, as are the word vectors for Sweden and Norway. Such representations are called distributed representations because their elements (the features) are not mutually exclusive and their many configurations correspond to the variations seen in the observed data. These word vectors are composed of learned features that were not determined ahead of time by experts, but automatically discovered by the neural network. Vector representations of words learned from text are now very widely used in natural language applications.
Another type of networks that have shown interesting results are Recurrent Neural Networks (RNN). RNNs try to capture the temporal aspects of the data fed to them, by considering multiple time steps of the data in their processing. Thanks to advances in their architecture [9,10] and ways of training them [11,12], RNNs have been found to be very good at predicting the next character in the text [13] or the next word in a sequence [7], but they can also be used for more complex tasks. For example, after reading an English sentence one word at a time, an English ‘encoder’ network can be trained so that the final state vector of its hidden units is a good representation of the thought expressed by the sentence.
Despite their flexibility and power, DNNs can only be applied to problems whose inputs and targets can be sensibly encoded with vectors of fixed dimensionality. It is a significant limitation, since many important problems are best expressed with sequences whose lengths are not known a priori. For example, speech recognition and machine translation.
Method
For the preprocessing of tweets, we worked with unsupervised techniques. For the encoding of the tweets we focused on Natural Language Processing, and used Word Embeddings for the representation of the words in the tweets. This way we can capture linguistic regularities found in our training sentences (festive tweets), placed close together in a high dimensional feature space. In our case the high dimensional feature space, varies between 200 500 dimensions. For the word embeddings we used google’s tools “word2vec”, which provides a fast and reliable implementation of two algorithms, continuous bagofwords and continuous skipgram. [6, 7, 8]
At the same time, using the same library we are able to extract and learn, phrases in our dataset of tweets. This way we are able to identify, ‘san francisco’ and encode it in a single vector, when otherwise, we would have ‘san’ and ‘francisco’ being represented as two vectors. Being an unsupervised method, the above needs a great amount of data, to train properly. The amount of data captured by the qualia api are many, but not quite enough. That said for the training of the word embeddings we use a large corpus, (first billion characters of the latest Wikipedia dump) in addition to the data provided for the qualia api.
To pass the tweets to the network we need to preprocess them, keeping in mind that we need an encoding of a given length/size. We do so by preprocessing the tweets in a RNNRBM [1], a recurrent restricted boltzmann machine. The RNNRBM is an energybased model for density estimation of temporal sequences. This way we are able to maintain information about the temporal relations of words and phrases in tweets. We are also able to find, in the Hidden Layer of our recurrency, a representation of fixed length of our tweet. This representation we want to feed as the encoded version of our tweet together with any other aligned information we have for that event, from that user or at that time.
We hope, given the feature extraction capabilities of the networks, important features of the data will emerge. At the same time given the bidirectional nature of both mechanisms, we will be able to create exemplar objects of the important features extracted.
Given the amount of data needed and the fact that the system should be able to work in real time we also implemented a python api binded to the Qualia v1 api. Being able to get tweets and process them in a parallel fashion, this mechanism provides enough throughput for the algorithm running itself in a massively parallel fashion on GPUs, using Theano accelerated Python scripts.
Chris Melidis.
Dr Eric Jensen, Associate Professor in the Department of Sociology at the University of Warwick is a widely published researcher in the field of public engagement and is the Principal Investigator leading this project. Other team-members include co-investigator Dr Maria Liakata, Assistant Professor at the Department of Computer Science at the University of Warwick, Professor Mike Phillips, researcher and i-DAT developer Chris Hunt, Chris Melidis and research consultant Dr David Ritchie, Professor of Communication at Portland State University.
https://warwick.ac.uk/fac/soc/sociology/staff/jensen/ericjensen/smile/workshop/
https://warwick.ac.uk/fac/soc/sociology/staff/jensen/ericjensen/smile/
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