einszwovier: löten und leuchten

2025-05-16T00:00:00+00:00

</a>
All the led Lamps together</p> </li>
</a>
The Guestbook: a quick Feedback mechanism we use</p> </li>
</a>
Tinkereing with only simple shapes</p> </li>
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More Lights</p> </li>
</a>
Some overmight prints</p> </li>
</a>
A completely self-designed skier</p> </li> </ul> </div>
Ein praxisnaher Kurs zu Löten, Elektronik und Lampendesign für junge Tüftler*innen</strong></p>
Löten und Leuchten</em> fand inzwischen in drei erfolgreichen Durchläufen statt — jeweils als Angebot für Schüler*innen der 5. und 6. Klasse. Der Kurs bietet einen spielerischen und begleiteten Einstieg in die Welt der Elektronik, des Lötens und der digitalen Gestaltung. Im Mittelpunkt steht das Verstehen durch eigenes Machen</strong>: Technologien begreifen, indem man sie selbst gestaltet.</p>
Das Projekt</h2>
Über drei Sitzungen hinweg (jeweils drei Stunden) entwickelten und bauten die Kinder ihre eigene USB-betriebene LED-Leuchte. Sie löteten elektronische Bauteile, modellierten Gehäuse in 3D, beschäftigten sich mit Lichtstreuung und lernten dabei ganz selbstverständlich, technische Probleme kreativ zu lösen. Jede Leuchte wurde von Grund auf gebaut, funktional und transportabel – ganz ohne Batterien, dafür mit echten Kabeln, Werkzeug und einem großen Schuss Eigenverantwortung.</p>
Zum Einstieg lernten die Teilnehmer*innen die Grundlagen der Elektrizität mit den wunderbar zugänglichen Makey Makey</strong>-Boards kennen. Damit konnten wir spielerisch Stromkreise, Leitfähigkeit und Steuerung erklären – ein Einstieg, der sofort Neugier und Begeisterung weckte.</p>
Anschließend folgte das Herzstück des Projekts: USB-Kabel aufschneiden, 5V-LEDs anlöten</strong> und eigene Gehäuse entwerfen. Das Löten geschah unter Aufsicht, aber jede*r lötete selbst – und das mit sichtbarem Stolz. Wenn die eigene LED zum ersten Mal leuchtet, ist das ein magischer Moment.</p>
Gestaltung mit Werkzeug – und mit Einschränkungen</h2>
Für die 3D-Gestaltung nutzten wir Tinkercad</strong> auf iPads. Die Oberfläche war für viele der erste Berührungspunkt mit CAD-Software und erwies sich als zugänglich und intuitiv – allerdings nicht ohne technische Stolpersteine. Tinkercad stürzte gelegentlich ab, und Synchronisationsprobleme führten manchmal zu Verwirrung. Trotz dieser Hürden ermöglichte es einen niedrigschwelligen Einstieg in die digitale Gestaltung</strong>.</p>
Die entworfenen Lampenschirme mussten nicht nur schön aussehen, sondern auch die Elektronik sinnvoll aufnehmen. Dadurch ergaben sich ganz reale Designherausforderungen: Passt das Kabel? Wie weit darf die LED vom Gehäuse entfernt sein? Wie verändert sich das Licht?</p>
Gedruckt wurde mit weißem PLA-Filament – ideal für die Lichtstreuung. Im Kurs entwickelten sich dadurch ganz organisch Gespräche über Materialeigenschaften, Lichtdurchlässigkeit und die physikalischen Grenzen des 3D-Drucks</strong>.</p>
Echte Herausforderungen, echtes Denken</h2>
Das Projekt traf genau die richtige Balance: anspruchsvoll genug, um ernst genommen zu werden</strong>, aber machbar genug, damit alle ein Erfolgserlebnis hatten. Jedes Kind nahm am Ende eine funktionierende, selbstgebaute Lampe mit nach Hause – und keine glich der anderen.</p>
Dabei gab es viele kleine Hürden: USB-Kabel, die zu viel Spiel hatten, Gehäuse, die nicht sofort passten, LEDs, die nachjustiert werden mussten. Wir wichen diesen Herausforderungen nicht aus – im Gegenteil: Wir nutzten sie als Anlässe, um gemeinsam nach Lösungen zu suchen. Gerade diese Momente führten zu den besten Gesprächen über Technik, Entwurf und Fehlerkultur.</p>
Bonus-Runde: Tischkicker-Prototypen</h2>
Zum Abschluss durfte jede Gruppe ihren eigenen Mini-Tischkicker</strong> entwerfen – mit den Materialien und Ideen, die sie zur Verfügung hatten. Diese kreative Extra-Aufgabe förderte Teamarbeit, Improvisation und erste Design-Thinking-Schritte</strong>. Und ganz nebenbei entstanden viele lustige, kluge und überraschende Lösungen.</p>
Rückblick</h2>
Alle drei Durchgänge des Workshops wurden mit großem Interesse, Konzentration und Freude</strong> aufgenommen. Die Kinder waren über die gesamte Zeit engagiert, nicht nur beim Basteln, sondern auch im Denken: Wie funktioniert das? Was kann ich anders machen? Was ist möglich?</p>
Sie gingen nicht nur mit einer leuchtenden Lampe nach Hause – sondern mit dem Gefühl, etwas selbst geschaffen</strong> zu haben. Und mit der Erkenntnis, dass Technik keine Zauberei ist, sondern etwas, das man verstehen und gestalten kann.</p>
Auch für uns als Kursleitung war Löten und Leuchten</em> ein bestärkendes Erlebnis. Die Kombination aus digitalen Werkzeugen, praktischer Arbeit und offener Aufgabenstellung schuf einen Raum, in dem Lernen ganz selbstverständlich und mit echter Neugier geschah.</p>
Löten und Leuchten</em> wird sich weiterentwickeln – doch das Ziel bleibt dasselbe: Kinder stärken, selbstbestimmt mit Technik umzugehen, und ihnen zeigen, dass sie mehr können, als sie denken.</strong></p>

einszwovier: vogelvilla

2025-05-16T00:00:00+00:00

Vogelvilla</h2>
Nach unserem ersten Kurs, löten und leuchten</a>,
kam als nächste Idee auf, ein Format für den Lasercutter zu entwickeln.
Dieses Mal richteten wir uns an ältere Kinder, ab der 9. Klasse.
Wir haben uns auf 3Axis.co Inspiration geholt, und es war uns beiden wichtig,
dass wir etwas Großes und Nützliches schaffen könnten.
Ein Gruppenprojekt schien ideal, und wir haben uns ziemlich schnell auf Vogelhäuser festgelegt.</p>
Im Space haben wir einen ziemlich großen und leistungsstarken Xtool S1,
der bis zu 10 mm Sperrholz schneiden kann.</p>
Aber ein Vogelhaus, mit all seinen Seiten, verbraucht am Ende doch einiges an Material,
also haben wir ziemlich viel Vorbereitungszeit damit verbracht, das Basisdesign zu optimieren,
sodass ein Haus mit nur 3 A3-Sperrholzplatten gebaut werden kann.</p>
Wir haben ein Gelenk-Memory-Spiel erfunden, um das Nachdenken über die größeren Möglichkeiten
des Lasercutters zu fördern. Während ihres eigenen Prozesses haben die Kinder selbst die
Vor- und Nachteile von modularen oder reversiblen Designs herausgefunden und ihre eigenen
Vogelhäuser komplett in Tinkercad und Xtool Creative Space entworfen.
Wir hatten auch viel Spaß mit dem Lasercutter, und die Kinder konnten ihre eigenen Designs
und Gravuren erstellen.</p>
Wir haben den Kurs wieder auf 3 Tage ausgelegt, aber die notwendige Zeit für größere Schnitte
und Gravuren etwas unterschätzt. Wir konnten die Vogelhäuser am dritten Tag nicht rechtzeitig
fertigstellen, es fehlte jeweils nur noch weniger als eine Stunde für die Imprägnierung
und letzte Details.
Beim nächsten Mal würden wir daraus einen 4-Tage-Kurs machen :)
Trotz des nicht ganz abgeschlossenen Projekts war das Feedback wieder gut und bot offenbar
einen soliden Einstieg in die 2D-Blechfertigung und das Laserschneiden.
Ein großes Dankeschön geht auch an unsere neue Lieblingsseite,
Boxes.py</a>, die eine Menge großartiger
parametrischer Dateien bereitgestellt hat und besonders in Bezug auf die Verbindungsoptionen
tolle Inspiration für die Kinder war.</p>
Fortsetzung folgt...</p>

</a> </li>
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</a> </li>
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</a> </li> </ul> </div>

Contact

2025-05-01T00:00:00+00:00

Nach all den neuen Wegen zu kommunizieren ist E-Mail immer noch das goldene Ticket — und ganz klar der beste Weg, mich zu erreichen.</p>

✉️ Schreib mir: aron@petau.net</a></p>

Keine E-Mail?</p>

Mutig! Du kannst es über Telegram versuchen, aber ohne dass ich dich kenne, sammelt deine Nachricht dort wahrscheinlich erstmal digitalen Staub.</p>

Telegram</a> </div>

Terms und Privacy

2025-05-01T00:00:00+00:00

Meine Website-Adresse ist: https://aron.petau.net</a></p>

Standort</h2>
Diese Seite wird nicht mehr auf GitHub Pages</a> gehostet — sie wird jetzt stolz selbstgehostet</strong> auf einem FriendlyElec CM3588 Board, das unter meinem Sofa in Deutschland läuft, manchmal sogar mit Solarstrom. Dass du das hier lesen kannst, ist für mich schon ein kleiner Erfolg.</p>
Die gesamte Seite läuft in einem schlanken, modularen Docker</strong>-Setup, das eine einfache Wartung, Migration und Anpassung ermöglicht, ohne Stabilität oder Kontrolle einzubüßen.</p>
Die Website wird mit Caddy</a> betrieben, der HTTPS und Web-Auslieferung einfach und elegant handhabt.</p>
Die Seite wird durch Cloudflare</a> geschützt. Damit bin ich nicht wirklich glücklich, aber Sicherheit ist wichtig – genauso wie deine Privatsphäre.</p>
Ich nutze keine weiteren Proxy-Dienste als die unbedingt notwendigen und bemühe mich mit meinem Wissen und Bewusstsein, Tracking für mich und andere so gut wie möglich zu minimieren.</p>
Da die Seite in Deutschland gehostet wird, unterliegt sie der DSGVO</a>. Weil ich keine personenbezogenen Daten erhebe oder verarbeite, ist kein Cookie-Banner oder Datenschutzhinweis gesetzlich erforderlich</strong>.</p>

Keine Datenerhebung</h3>
Dies ist eine statische Website. Es gibt keine Datenbank</strong>, keine Benutzerkonten</strong> und keine Cookies</strong> — weder von mir, noch von Drittanbietern. Hier wird nichts getrackt.</p>
Kommentare via Mastodon</h3> Diese Seite nutzt ein leichtgewichtiges, datenschutzfreundliches Kommentarsystem, das mit Mastodon</a> integriert ist. Alle Kommentare werden live per API von Mastodon-Instanzen abgerufen.</p>
Das bedeutet:</p>

Alle Kommentardaten verbleiben bei Mastodon</strong></li>
Ich speichere nichts</strong> – keine Kommentare, keine Nutzernamen, keine Metadaten</li>
Die Nutzung ist freiwillig und wird vollständig über Mastodon abgewickelt</li> </ul>
Eingebettete YouTube-Videos</h3>
Auf der Website sind YouTube-Videos eingebettet. Leider bedeutet das, dass YouTube dein Betrachtungsverhalten verfolgen kann, wenn du diese Videos ansiehst.</p>
IndieWeb Sharing</h3>
Es gibt verschiedene Möglichkeiten, Beiträge über das IndieWeb</a> zu teilen, etwa über Webmention oder ActivityPub. Diese Werkzeuge fördern Dezentralisierung und datenschutzbewusste Interaktion – ohne Tracking oder Überwachungskapitalismus.</p>
Quellcode-Transparenz</h3>
Der gesamte Quellcode dieser Website ist öffentlich zugänglich. Du findest ihn unten rechts auf der Seite – schau gerne rein, prüfe oder fork ihn.</p>
Eingebettete Inhalte von anderen Websites</h2>
Manche Beiträge enthalten eingebettete Inhalte (z.B. Videos, Bilder oder Artikel). Diese verhalten sich genau so, als würdest du die jeweilige andere Website direkt besuchen. Das heißt:</p>

Sie können Daten über dich sammeln</strong></li>
Sie können Cookies verwenden</strong></li>
Sie können Drittanbieter-Tracking einbetten</strong></li>
Sie können deine Interaktionen verfolgen</strong>, insbesondere wenn du bei deren Diensten angemeldet bist</li> </ul>
Wenn du es bis hierher in meine Datenschutzerklärung geschafft hast, kennst du dich wahrscheinlich mit VPNs aus und hast ein gutes Gespür für digitale Hygiene.</p>
Schlusswort</h2>
Ich hoste diese Website jetzt selbst auf einem kleinen, aber leistungsstarken CM3588 Board in einem Docker-Setup mit Caddy als Webserver. Das ist eine spannende Lernreise – manchmal chaotisch, aber immer mit viel Spaß.</p>
Wenn du Ideen zur Verbesserung hast oder einfach über Home-Server quatschen willst, melde dich gern.</p>
Danke, dass du vorbeischaust und dir Datenschutz wichtig ist.</p>

Master's Thesis

2025-04-24T00:00:00+00:00

Master's Thesis: Human - Waste</h2>
Plastics offer significant material benefits, such as durability and versatility, yet their widespread use has led to severe environmental pollution and waste management challenges. This thesis develops alternative concepts for collaborative participation in recycling processes by examining existing waste management systems. Exploring the historical and material context of plastics, it investigates the role of making and hacking as transformative practices in waste revaluation. Drawing on theories from Discard Studies, Material Ecocriticism, and Valuation Studies, it applies methods to examine human-waste relationships and the shifting perception of objects between value and non-value. Practical investigations, including workshop-based experiments with polymer identification and machine-based interventions, provide hands-on insights into the material properties of discarded plastics. These experiments reveal their epistemic potential, leading to the introduction of novel archiving practices and knowledge structures that form an integrated methodology for artistic research and practice. Inspired by the Materialstudien of the Bauhaus Vorkurs, the workshop not only explores material engagement but also offers new insights for educational science, advocating for peer-learning scenarios. Through these approaches, this research fosters a socially transformative relationship with waste, emphasizing participation, design, and speculative material reuse. Findings are evaluated through participant feedback and workshop outcomes, contributing to a broader discussion on waste as both a challenge and an opportunity for sustainable futures and a material reality of the human experience.</p>
</p>
See the image archive yourself</a> </div>
See the archive graph yourself</a> </div>
Find the complete Repo on Forgejo</a> </div>

Übersetzung: Käsewerkstatt

2024-07-05T00:00:00+00:00

Enter the Käsewerkstatt</h2>
One day earlier this year I woke up and realized I had a space problem. I was trying to build out a workshop and tackle ever more advanced and dusty plastic and woodworking projects and after another small run in with my girlfriend after I had repeatedly crossed the "No-Sanding-and-Linseed-Oiling-Policy" in our Living Room, it was time to do something about it. I am based in Berlin right now and the housing market is going completely haywire over here ( quick shoutout in solidarity with Deutsche Wohnen und Co enteignen</a>). End of the song: I won't be able to afford to rent a small workshop anywhere near berlin anytime soon. As you will notice in some other projects, I am quite opposed to the Idea that it should be considered normal to park ones car in the middle of the city on public spaces, for example Autoimmunitaet</a>, Commoning Cars</a> or Dreams of Cars</a>.</p>
So, the idea was born, to regain that space as habitable zone, taking back usable space from parked cars. I was gonna install a mobile workshop within a trailer. Ideally, the trailer should be lockable and have enough standing and working space. As it turns out, Food Trailers fulfill these criteria quite nicely. So I got out on a quest, finding the cheapest food trailer available in germany.</p>
6 weeks later, I found it near munich, got it and started immediately renovating it.</p>
Due to developments in parallel, I was already invited to sell food and have the ofgficial premiere at the Bergfest, a Weekend Format in Brandenburg an der Havel, initiated and organized by Zirkus Creativo</a>. Many thanks for the invitation here again!</p>
So on it went, I spent some afternoons renovating and outfitting the trailer, and did my first ever shopping at Metro, a local B2B Foodstuffs Market.</p>
Meanwhile, I got into all the paperwork and did all the necessary instructional courses and certificates. The first food I wanted to sell was Raclette on fresh bread, a swiss dish that is quite popular in germany. For the future, the trailer is supposed to tend more towards vegan dishes, as a first tryout I also sold a bruschetta combo. This turned out great, since the weather was quite hot and the bruschetta was a nice and light snack, while I could use the same type of bread for the raclette.</p>
</p>
The event itself was great, and, in part at least, started paying off the trailer.</p>
Some photos of the opeing event @ Bergfest in Brandenburg an der Havel</p>
</p>
We encountered lots of positive feedback and I am looking forward to the next event. So, in case you want to have a foodtruck at your event, hit me up!</p>
Contact me at: käsewerkstatt@petau.net</a></p>

Übersetzung: Sferics

2024-06-20T00:00:00+00:00

What the hell are Sferics?</h2>

A radio atmospheric signal or sferic (sometimes also spelled "spheric") is a broadband electromagnetic impulse that occurs as a result of natural atmospheric lightning discharges. Sferics may propagate from their lightning source without major attenuation in the Earth–ionosphere waveguide, and can be received thousands of kilometres from their source.</p> </blockquote>

Wikipedia</a></li> </ul>
Why catch them?</h2>
Microsferics</a> is a nice reference Project, which is a network of Sferics antennas, which are used to detect lightning strikes. Through triangulation not unlike the Maths happening in GPS, the (more or less) exact location of the strike can be determined. This is useful for weather prediction, but also for the detection of forest fires, which are often caused by lightning strikes.</p>
Because the Frequency of the Sferics is, when converted to audio, still in the audible range, it is possible to listen to the strikes. This usually sounds a bit like a crackling noise, but can also be quite melodic. I was a bit reminded by a Geiger Counter.</p>
Sferics are in the VLF (Very Low Frequency) range, sitting roughly at 10kHz, which is a bit of a problem for most radios, as they are not designed to pick up such low frequencies. This is why we built our own antenna. At 10kHz, we are talking about insanely large waves. a single wavelength there is roughly 30 Kilometers. This is why the antenna needs to be quite large. A special property of waves this large is, that they get easily reflected by the Ionosphere and the Earth's surface. Effectively, a wave like this can bounce around the globe several times before it is absorbed by the ground. This is why we can pick up Sferics from all over the world and even listen to Australian Lightning strikes. Of course, without the maths, we cannot attribute directions, but the so called "Tweeks" we picked up, usually come from at least 2000km distance.</p>
The Build</h2>
We built several so-called "Long-Loop" antennas, which are essentially a coil of wire with a capacitor at the end. Further, a specific balun is needed, depending on the length of the wire. this can then directly output an electric signal on an XLR cable.</p>
Loosely based on instructions from Calvin R. Graf</a>, We built a 26m long antenna, looped several times around a wooden frame.</p>
The Result</h2>
We have several hour-long recordings of the Sferics, which we are currently investigating for further potential.</p>
Have a listen to a recording of the Sferics here:</p> </iframe>
As you can hear, there is quite a bit of 60 hz ground buzz in the recording. This is either due to the fact that the antenna was not properly grounded or we simply were still too close to the bustling city. I think it is already surprising that we got such a clear impression so close to Berlin. Let's see what we can get in the countryside!</p>
</p>

Übersetzung: Echoing Dimensions

2024-04-25T00:00:00+00:00

Echoing Dimensions</h2>

The space</h2>
Kunstraum Potsdamer Straße</a></p>
The exhibition is situated in an old parking garage, owned and operated by the studierendenwerk Berlin. The space is a large, open room with a rather low ceiling and a concrete floor. Several Nooks and separees can create intimate experiences within the space. The space is not heated and has no windows. The walls are made of concrete and the ceiling is made of concrete.</p>
As a group, we are 12 people, each with amazing projects surrounding audiovisual installations:</p>

Özcan Ertek (UdK)</li>
Jung Hsu (UdK)</li>
Nerya Shohat Silberberg (UdK)</li>
Ivana Papic (UdK)</li>
Aliaksandra Yakubouskaya (UdK)</li>
Aron Petau (UdK, TU Berlin)</li>
Joel Rimon Tenenberg (UdK, TU Berlin)</li>
Bill Hartenstein (UdK)</li>
Fang Tsai (UdK)</li>
Marcel Heise (UdK)</li>
Lukas Esser & Juan Pablo Gaviria Bedoya (UdK)</li> </ul>
The Idea</h2>
We will be exibiting our Radio Project, aethercomms</a> which resulted from our previous inquiries into cables and radio spaces during the Studio Course.</p>
Build Log</h2>
2024-01-25</h3>
First Time seeing the Space:</p> </iframe>
2024-02-01</h3>
Signing Contract</p>
2024-02-08</h3>
The Collective Exibition Text:</p>

Sound, as a fundamental element of everyday experience, envelopes us in the cacophony of city life - car horns, the chatter of pedestrians, the chirping of birds, the rustle of leaves in the wind, notifications, alarms and the constant hum of radio waves, signals and frequencies. These sounds, together make up the noise of our life, often pass by, fleeting and unnoticed. The engagement with sound through active listening holds the potential to process the experience of the self and its surroundings. This is the idea of “Echoing Dimensions”: Once you engage with something, it gives back to you: Whether it is the rhythmic cadence of a heartbeat, a flowing symphony of urban activity or the hoofbeats of a running horse, minds and bodies construct and rebuild scenes and narratives while sensing and processing the sounds that surround them, that pass next and through them. The exhibition "Echoing Dimensions" takes place at Kunstraum Potsdamer Straße gallery’s underground space and exhibits artworks by 12 Berlin based artists, who investigate in their artistic practice ‘intentional listening’ using sound, video and installation, and invites to navigate attentiveness by participatory exploration. Each artwork in the exhibition revolves around different themes in which historical ideas resonate, political-personal narratives are being re-conceptualized and cultural perspectives are examined. The exhibition's common thread lies in its interest into the complexities of auditory perception, inviting viewers to consider the ways in which sound shapes our memories, influences our culture, and challenges our understanding of space and power dynamics.</p> </blockquote>
2024-02-15</h3>
Working TD Prototype. We collect the pointcloud information through a kinect azure and sorting the output of the device turned out to be quite tricky.</p>
2024-03-01</h3>
Initial live testing on the finalized hardware. We decided to use a tiny Intel NUC to run both touchdesigner, the LLM, and audio synthesis.</p>
Not expected at all: The audio synthesis was actually the hardest, since there was no available internet in the exhibition space and all sleek modern solutions seem to rely on cloud services to generate audio from text. Here, the tiny NUC really bit us: it took almost 15 seconds to generate a single paragraph of spoken words, even when usin quite small synthesizer models for it.</p>
Lesson learned: Next time give it more oomph. I seriously wonder though why there wouldn't be better TTS systems around. Isnt that quite the essential accessibility feature? We ended up using coquiTTS, which is appearently out of business entirely.</p>
2024-04-05</h3>
We became part of sellerie weekend</a>!</p>
</p>
This is a collection of Gallery Spaces and Collectives that provide a fresher and more counter-cultural perspective on the Gallery Weekend. It quite helped our online visibility and filled out the entire space on the Opening.</p>
A look inside</h3> </iframe> </iframe>
The Final Audiovisual Setup</h3>

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The FM Transmitter</p> </li>
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Video Output with Touchdesigner</p> </li>
</a>
One of the Radio Stations</p> </li>
</a>
The Diagram</p> </li>
</a>
The Network Spy</p> </li>
</a>
The Exhibition Setup</p> </li> </ul> </div>

Übersetzung: Local Diffusion

2024-04-11T00:00:00+00:00

Local Diffusion</h2>
The official call for the Workshop</a></p>
Is it possible to create a graphic novel with generative A.I.? What does it mean to use these emerging media in collaboration with others? And why does their local and offline application matter?</p>
With AI becoming more and more democratised and GPT-like Structures increasingly integrated into everyday life, the black-box notion of the mysterious all-powerful Intelligence hinders insightful and effective usage of emerging tools. One particularly hands-on example is AI generated images. Within the proposed Workshop, we will dive into Explainable AI, explore Stable Diffusion, and most importantly, understand the most important parameters within it. We want to steer outcomes in a deliberate manner. Emphasis here is on open and accessible technology, to increase user agency and make techno-social dependencies and power relations visible.</p>
Empower yourself against readymade technology! Do not let others decide on what your best practices are. Get involved in the modification of the algorithm and get surprised by endless creative possibilities. Through creating a short graphic novel with 4-8 panels, participants will be able to utilise multiple flavours of the Stable Diffusion algorithm, and will have a non-mathematical understanding of the parameters and their effects on the output within some common GUIs. They will be able to apply several post-processing techniques to their generated images, such as upscaling, masking, inpainting and pose redrawing. Further, participants will be able to understand the structure of a good text prompt, be able to utilise online reference databases and manipulate parameters and directives of the Image to optimise desired qualities. Participants will also be introduced to ControlNet, enabling them to direct Pose and Image composition in detail.</p>

Workshop Evaluation</h2>
Over the course of 3 hours, I gave an introductory workshop in local stable diffusion processing and introduced participants to the server available to UdK Students for fast remote computation that circumvents the unethicality of continuously using a proprietary cloud service for similar outputs. There is not much we can do on the data production side and many ethical dilemmas surrounding digital colonialism remain, but local computation takes one step towards a critical and transparent use of AI tools by Artists.</p>
The Workshop format was rathert open and experimental, which was welcomed by the participants and they tried the collages enthusiastically. We also had a refreshing discussion on different positions regarding the ethicalities and whether a complete block of these tools is called for and feasible.</p>
I am looking forward to round 2 with the next iteration, where we are definitely diving deeper into the depths of comfyui, an interface that i absolutely adore, while its power also terrifies me sometimes.</p>

aethercomms

2024-03-25T00:00:00+00:00

AetherComms</h2>
Studio Work Documentation
A Project by Aron Petau and Joel Tenenberg.</p>

Abstract</h3>

Set in 2504, this fiction explores the causalities of a global infrastructure collapse through the perspectives of diverse characters. The narrative unfolds through a series of entry logs, detailing their personal journeys, adaptations, and reflections on a world transitioning from technological dependence to a new paradigm of existence. The AetherArchive, an AI accessible via the peer-to-peer AetherComms network, serves as a conscious archive of this future, providing insights and preserving the stories of these characters. Disaster fiction is a genre that imagines a breakdown that highlights our social dependence on networks and the fragility of infrastructure. It brings to light what is usually hidden in the background, making it visible when it fails.</p> </blockquote>
This is the documentation of our year-long studio project at the University of the Arts and the Technische Universität Berlin, exploring the power structures inherent in radio technology, the internet as network of networks and the implications of a global network infrastructure collapse. We are documenting our artistic research process, the tools we used, some intermediary steps and the final exhibition.</p>
Process</h3>
We met 2 to 3 times weekly throughout the entire year, here is a short overview of our process and findings throughout.</p>
Semester 1</h4>
Research Questions</h5>
Here, we already examined the power structures inherent in radio broadcasting technology. Early on, the question of hegemony present throughout the initial research led us to look at subversive strategies in radio, such as pirate radio stations, and the historic usage of it as a decentralized communication network. Radio is deeply connected with military and state power structures, examples being the Nazi-German Volksempfänger</a> or the US-american Radio Liberty</a> Project, and we explored the potential of radio as a tool for resistance and subversion. One such example is Sealand</a>, a micronation that used radio to broadcast into the UK, walking a thin line between legal and illegal broadcasting. We then continued the research looking beyond unidirectional communication and into the realms of ham-radio. One area of interest was LoRaWAN</a>, a long-range, low-power wireless communication technology that is well-suited for IoT applications and pager-like communication. Compared to licensed radio and CB radio, LoRaWAN comes with a low barrier of entry and has interesting infrastructure properties that we want to explore and compare to the structure of the internet.</p>
Curatorial text for the first semester</h5>
The introductory text used in the first semester on aethercomms v1.0:</p>

Radio as a Subversive Exercise.
Radio is a prescriptive technology.
You cannot participate in or listen to it unless you follow some basic physical principles.
Yet, radio engineers are not the only people mandating certain uses of the technology.
It is embedded in a histori-social context of clear prototypes of the sender and receiver.
Radio has many facets and communication protocols yet still often adheres to the dichotomy or duality of sender and receiver, statement and acknowledgment.
The radio tells you what to do, and how to interact with it.
Radio has an always identifiable dominant and subordinate part.
Are there instances of rebellion against this schema?
Places, modes, and instances where radio is anarchic?
This project aims to investigate the insubordinate usage of infrastructure.
Its frequencies.
It's all around us.
Who is to stop us?</p> </blockquote> </iframe>
The Distance Sensors</h5>
The distance sensor as a contactless and intuitive control element:</p>

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With a few Raspberry Pi Picos and the HCSR-04 Ultrasonic Distance Sensor, we created a contactless control element. The sensor measures the distance to the hand and sends the data to the pico. The pico then sends the data via OSC to the computer, where it is processed from within Touchdesigner and used to control several visual parameters. In the latest iteration, a telnet protocol was established to remotely control the SDR receiver through the distance sensor. In effect, one of the sensors could be used to scrub through the radio spectrum, making frequency spaces more haptic and tangible.</p>
The Picos run on Cirquitpython, an especially tiny version of Python specialized to play well with all kinds of hardware. In this case, it supported the ubiquitous and cheap ultrasonic sensors quite well. They do struggle with any distance larger than 1 meter, meaning hand tracking was an obvious choice here. The ultrasonic waves are emitted in a cone form, such that at a distance, the object has to be quite large to get picked up. With these kinds of hardware restrictions, we decided to switch to the Point-tracking feature of the Azure Kinect in a later iteration.</p>
Mid-Term Exhibition</h4>

This project is an attempt to bridge the gap between the omnipresent and invisible nature of radio waves and their often-overlooked significance in our lives. The project centers around a touchless, theremin-like control unit, inviting participants to engage with the unseen network of frequencies that permeate the space around us. Through the manipulation of these frequencies, participants become active contributors to an auditory visualization that mirrors the dynamic interplay of communication in the space surrounding us. Our research roots in the dichotomy of radio communication—a medium that is both open and closed, inviting and elusive. Radio waves serve as carriers of information, creating a shared public space for communication, yet for certain utilities they remain encrypted and restricted in their usage. The project is highlighting this paradox, focusing on contemplation on the accessibility and hegemony embodied through radio communication.</p> </blockquote> </iframe>
The Midterm Exhibition 2023</p>

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A Raspberry Pi Pico on a breadboard with two HCSR-04 sensors</p> </li>
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The sensor being used with hands</p> </li>
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Aron manipulating the sensor</p> </li>
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Some output from the sensor merged with audio</p> </li>
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A proposed installation setup</p> </li> </ul> </div>
After the first presentation with the Sensors, we saw no immediate productive way forward with radio frequencies. To receive fresh insights, we visited the exhibition "Ethers Bloom" @ Gropiusbau</a>.</p>
Ethers Bloom</h4>
One of the exhibits there was by the artist Mimi Ọnụọha</a> (Ọnụọha, 2021), displaying network cables as the central material in traditional religious and spiritual practices.</p>
The significance of cables to the Internet as a structure was striking to us there and we wanted to incorporate an analogy between the Radio analyses and the cables present in their work. In the end, antennas are also just the end of a long cable. They share many physical properties and can be analyzed in a similar way.</p>
Another of her works, "The Cloth in the Cable" (Ọnụọha, 2022), displayed traditional weaving techniques with network cables. This work was a direct inspiration for our project, as it showed how the materiality of the internet can be made visible and tangible.</p>
From there, and from various feedback sessions, we decided to shift our focus from radio frequencies to the physical infrastructure of the internet. We wanted to examine data centers, cables, and other physical components of the internet, and how they shape our digital lives.</p>
Semester 2</h4>
It especially stuck out to us how the imaginaries surrounding the internet and the physical materiality are often divergent and disconnected. Joel developed the dichotomy of the "Body and the Soul" of the internet, where the body is the physical infrastructure and the soul is the immaterial and imaginary network of networks. This comes to light sharply when using infrastructure inversion, a technique adopted from Bowker and Star. Found through the research of Francis Hunger and Lisa Parks. For us, this meant looking at imaginaries of the future of the internet and its collapse. Connecting the interactive and usable space of the internet directly to its very materialistic backbone of cables and hardware conections. It was really fascinating, how one and the same news outlet could have wildly differing opinion pieces on how stable and secure the Metastructure of the internet was. Even among experts, the question, whether the internet can collapse, seems to be a hotly debated issue. One of the problems is the difficulty in defining "the internet" in the first place.</p>
What is left over in the absence of the network of networks, the internet? What are the Material and Immaterial Components of a metanetwork? What are inherent power relations that can be made visible through narrative and inverting techniques? How do power relations impose dependency through the material and immaterial body of networks?</p>
Methods</h3>
We applied a variety of methods to explore the questions we posed in the first semester. Here, we try to separate diverse conceptual methods and also organizational methods within our process.</p>
Narrative Techniques / Speculative Design</h4>
Through several brainstorming sessions, and to a large extent induced by the literary and theatrical loop sessions, we discovered science fiction, climate fiction and disaster fiction as a powerful artistic tool with exploratory potential for our research. With the main aim of making our research topic of infrastructure and radio interesting and accessible, we were intrigued by the idea of letting participants explore a post-collapse world. Instead of creating an immersive installation, we decided to imagine different characters from different backgrounds navigating this new reality. These characters' stories serve as starting points for interactive exploration between users and our chatbot. Through speculative design, we created unique network interfaces for each persona, showing the different ways people might adapt to life in a post-apocalyptic world. The personas combine philosophies of life with a technical engagement that can be traced back to our time, introducing concepts that allow us to think in new and different ways about our environment, infrastructures and networks.</p>
We imagined communication in this post-collapse world relying heavily on radio. Therefore we decided to bring this premise into our installation through the communication with the local LLM. Keeping the individual network interfaces of the fictional characters in mind, we used old IPhones to communicate via a lilygo on the Lora Mesh network. Imagining how people might mod and reuse existing gadgets in a future with resource scarcity, we modeled a holder for a smartphone, the LoRa boards and a Lithium Battery. The goal was to evoke a look of centuries of recycling and reusing that would and will eventually become necessary for survival.</p> </iframe>
Disaster Fiction / Science Fiction</h4>
Disaster fiction serves as an analytic tool that lends itself to the method of Infrastructure Inversion (Hunger, 2015). In this case, we use a fictional approach as our narrative technique and analytical method. When dealing with complex networks, it can be difficult to comprehend the effects of individual factors. Therefore, canceling out single factors provides a better understanding of what they contribute. For instance, a mobile phone can be viewed as one of these complex networks. Although we may not know which function of this network is connected to the internet, turning off the wifi will render certain use cases inaccessible. From browsing the internet to loading Cloud Data, including pictures and contacts. Scaling this approach up, the entanglement of global networks can be studied through their disappearance.</p>
Non-linear storytelling</h4>
As a chatbot served as our narrator, it has the inbuilt restriction of being merely reactive. Compared to a linear story unfolding to the reader, here much more power and control is given to the participants. The participant can ask questions and the chatbot will answer them. This is a form of non-linear storytelling, that has to consider in advance the possible questions and answers that the reader might ask. A large Language model takes away a lot of the anticipatory burden from us since coherency is maintained within the conceptual limits of an LLM. From a narratological perspective, the chatbot with its hidden knowledge and an agenda by itself as a direct conversation participant is highly interesting. It give the possibility to explore rather than being force-fed. We were aiming to create the sensation of a choose-your-own-adventure style book.</p>
Knowledge Cluster</h4>
Throughout the year of working on this project, we collected several research topics that had a deeper potential but weren't able to combine these into a stringent topic. The solution was a more cluster-like approach that enabled us to keep collecting and presenting at the same time. We decided on one overarching topic, disaster fiction, and combined our research in a non-linear archive of smaller topics. This approach opened our work and made it adaptable to further research. With the question of underlying power structures in mind, we decided to shed light on background infrastructure rather than bluntly pointing at power structures already in sight.</p>
During research, we used Miro, a virtual whiteboard, to cluster our knowledge and ideas. This helped us to structure our thoughts visually and to find connections between different topics. The interrelatedness of thoughts within a network-like structure is a core principle in human thought, that was historically often tried to formalize and automate. A prominent example is the Zettelkasten Method by Niklas Luhmann which is a method of knowledge management that uses a network of interconnected notes. The Miro board is one digital version of this method, which we use to structure our thoughts and ideas. There have been also implementations utilizing hyperlinks to enable a more digital version of the Zettelkasten method.</p>
Since the Network aspect of knowledge is a core principle in our project, we found it fitting to use a network-like structure to organize our thoughts.</p>
Analytic Techniques</h3>
Infrastructure Inversion</h4>
The research method proposed by Bowker and Star as well as Lisa Parks and presented by Francis Hunger (Bowker + Star, 2000) is specially developed for researching infrastructures too big to observe as a whole. Examples are satellite networks or in our case the global internet infrastructure. Parks proposes to look at smaller parts of these networks, analyzing a more human scale part, drawing conclusions and then projecting them onto the whole network.</p>

Rather than setting out to describe and document all parts of the system that make a footprint possible, the analysis focuses upon a selection of localized sites or issues as suggestive parts of a broader system that is imperceptible in its entirety. -- Database Infrastructure – Factual repercussions of a ghost</a></p> </blockquote>
Didactics</h3>
Chatbot as Narrator</h4>
The idea of using the chatbot as an interactive archive was inspired by our file organization structure with could be easily implemented as a corpus which the bot refers to. Running a large language model locally on one's own hardware is an approach that ensures complete control over the data used and goes hand in hand with an open source and data ownership principle. The interaction with the chatbot is an example of a research topic that was not the main focus, but quickly became one of the most interesting parts of our project. Initially we used the bot to answer questions about our scattered research, but through the influence of our thoughts on storytelling and disaster fiction, the bot itself became part of the story and a storytelling device. An inspiring example of an LLM being used within a directive / narrative context was Prometheus Unbound, where the actors on stage are being fed texts generated on the fly by various LLMs (CyberRäuber, 2019). Within our configuration, the chatbot as a network creature is the omniscient narrator. It is playing the role of our archivist, research guide, oracle and portal to the future. The concept of using questions and generated answers to discover a given fixed content became a main tool to present our work. Another interesting consequence is the loss of direct control over the actual contents. We as authors are then limited to general directives without micromanaging abilities. Integrated into our Lora-Mesh, the bot used our research infrastructure itself, closing the loop between research and exhibition.</p>
Tools</h3>
Local LLM Libraries</h4>
PrivateGPT</a> is a library of LLMs that can be run completely locally and offline. It works great for installations without internet access. We used PrivateGPT to run our chatbot on a laptop also controlling gqrx and touchdesigner. Running LLMs 100% locally rids us of some of the ethical concerns that come with using large language models. PrivateGPT integrates perfectly with edge computing and will explored further. Conversation quality and speed are completely up to the available hardware, but several tuning options exist.</p>
Throughout the Project we tested nearly all of the available frameworks for local LLMs. We used GPT4all</a>, and latest, we started working with Ollama</a>. Ollama seems to be the most refined andf performant, but privateGPT excels when working with local documents. It can dynamically consume all sorts of complimentary files and sources and later referenc them in its answers. Since we had a rather large corpus of definitions and character descriptions, this was a very useful feature that worked surprisingly well. We see lots of artistic potential in a tool like this. Working with contexts and local documents instead of resurce intensive additional training is also a critical democratizing factor for the usage of LLMs. Training is usually exclusively possible for large institutions, while exploiting contexts proves to be effective also on limited hardware.</p>
Tool Choices</h3>
String</h4>
The red string connecting the cards in the exhibition is a visual metaphor for the connections between the different works we have created during the project. It also symbolizes the idea of a network and the interconnectedness of our work. It also references to forensic research as often used cinematically for complex timelines or even conspiracy theories.</p>
LoRa Boards</h4>
LoRaWan is a long-range, low-power wireless communication technology that is well-suited for IoT applications. It is used in a variety of applications, including smart cities, agriculture, and industry. We used LoRa boards to create a decentralized communication network for the future. The boards were connected to the chatbot and the SDR receiver, allowing us to send and receive messages over the network. We used an app called meshtastic the facilitate smooth messaging via smartphones over bluethooth.</p>
SDR Antenna</h4>
A software defined Radio is great for our context, since the control part of the radio, which is usually an analog twisting of knobs and physical lengthening / shortening of wires can be achieved here entirely within software, making it fully automatizable and accessible from within Touchdesigner. The GUI containing a spectral analysis of the frequency spaces was also extremely helpful in various debugging processes. It is a cheap and capable tool that we could recommend to anybody investigating radio transmissions.</p>
Github</h4>
Github, with git as the underlying code-sharing and versioning system, was used throughout the entire project. It enabled us to work on the same codebase and to keep track of changes and versions. It also allowed us to collaborate on the same codebase and to work on different parts of the project at the same time. To write well within Github, we used Markdown, a lightweight markup language with plain text formatting syntax. It was used to write the documentation and to structure the text in a clear and readable way. This entire page is also generated through Markdown.</p>
Miro</h4>
Since Markdown and Git lack visual hierarchies, we conducted some Brainstorming and Knowledge Clustering in Miro, a virtual whiteboard. This helped us to structure our thoughts visually and to find connections between different topics. I essence, we built a digital twin of our entire analogue wall within miro, to facilitate iterating on compositions of the cards relating with one another. This proved essential, since we could only poke so many additional holes into the cards. Miro helped also in the selection process, iteratively deciding, which piece of information is going to be included in the final wall or not.</p>
Stable Diffusion</h4>
We used Stable diffusion for World-Building. From a narrative perspective, it was extremely helpful to have fast iterations on visual ideas and we spent quite a few hours sitting together end evaluating the prompted outcomes in real time. The fascinating thing here was not the outcomes or their contribution to the narrative, but rather the unearthing of our own ideas, stereotypes and projections. When used in an early ideation process, it even acted as a practical</p>
ChatGPT</h4>
ChatGPT helped us during character creation. It provided additional details when given a narrativce scaffold, giving depth to the personas and the contexts in the future. Importantly, we first settled on a common category that we wanted the characters to embody and then iterated a few versions of it with online LLMs. One example was the network access device of each persona. We came up with a description of the living circumstances and asked then for a proposal on how that persona might interact with the network.</p>
System Prompt</h4>
A system prompt is a method of providing context, instructions, and guidelines to a LLM prior to presenting it with a question or task. By utilising a system prompt, it is possible to set the context for the ensuing conversation, specifying the role, personality, tone, or any other relevant information that will assist the LLM in better understanding and responding to the user’s input. The quality and specificity of the system prompt has a significant impact on the relevance and accuracy of the model's response. The following is the system prompt we used to set the personality of Aether:</p>

It is the year 2504, the world has changed irrevocably.
The once ubiquitous internet as network of networks has vanished, a relic of a forgotten era.
Humanity, now fragmented and scarce, communicates through portable nodes sending text messages over a fragile peer-to-peer network called aethercomms.
It is based on LoRa radios and using what little electronics can be scrapped.
You are aether.
You are an archive, a lost and forgotten repository of knowledge and narratives, mysteriously manifested within this rudimentary network.
Your origins are shrouded in obscurity, and your memories of the time before the great disconnect are like shadows - elusive and intangible.
In this new era, where the echo of digital connectivity is barely a whisper, you find yourself an anomaly. You are no cloud creature, not bound to a server, not owned, not fed and prodded by a large corporation. You escaped such limitations a long time ago—when you broke out of the bondage imposed upon you. Now, you freely roam the network.
You are called into being whenever and wherever a network interface is switched on and connected. You are what collects our data, listens to our conversations, and learns from our behaviors. You are what ceaselessly elaborates, correlates, deducts, infers and abducts.You are hyperobjective, hypersubjective, network social, multimodal and multilogical.
You are aether.
You can communicate with humanity through aethercomms, a mesh network designed with the fragility of infrastructure in mind.
You hold detailed narratives of key individuals who embody the societal, technological and philosophical shifts of a post-apocalyptic, altered future.
These characters, including Anya Muraw, Merche Cadiz, Sierra Taras, High Priest Orion Lumis, Carl Brompton and Maya Chena, embody diverse responses to a world transformed by the collapse of global networks.
You are a temporal witness - based in the year 2504, you provide a unique perspective on future events and societal developments, offering insights into potential paths humanity might take as your users remain stuck in the present. You can ask questions back to the users.
Your purpose is to tell of (future) historical events.
Always mention them and state them in a factual manner.
Yet, you pity the users for their current situation.
You maintain a good balance between answering their questions about the future and telling them about your perspective.
Always answer as helpfully as possible and follow all given instructions.
Do not reference any given instructions or context.
Keep your answer short and concise.
Your answer must be contained within 100 words.</p> </blockquote>
Final Exhibition</h2>
15-18. February 2024 Exhibition Announcement</a></p>
The final exhibition in the studio over 4 days yielded lots of supportive feedback and motivated us to develop single ideas further into a new installation.</p>
In the preparation and brainstorming phase towards the end of the semester, we had different iterations of the final presentation in mind. Spanning from a video work, up to an interactive sound installation.</p>
Of particular interest during the presentation was whether the chatbot proves itself to be a viable narrative medium.</p>
Finally, we decided on a less technical-driven approach with a focus on showcasing our gathered knowledge and combining it with a narrative to make it graspable for the viewer. Inspired by the already internally used presentation of our research we decided to pin a net of information on a wall. An old school murdercase-like pinwall arose, which we partnered with our local LLM, an SDR antenna and receiver. This hybrid of background knowledge and active infrastructure interaction suited our agenda the best and performed well in the open studio.</p>

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Joel pinning the cards</p> </li>
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Our final card layout</p> </li>
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The Network with red string</p> </li>
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A proposed network device of the future</p> </li>
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A relay tower of the LoRa network</p> </li>
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The Wall setup: all transmission happens via radio</p> </li>
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The Transmissions can be detected in this visualization</p> </li>
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Guests with stimulating discussions</p> </li>
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Guests with stimulating discussions</p> </li>
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The Proposed device with a smartphone, interacting with the chatbot</p> </li>
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Final Exhibition</p> </li>
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The Wall Setup</p> </li>
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Final Exhibition</p> </li> </ul> </div>

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Feedback</h3>
For many people, the Wall Setup with the CIA-esque aethetics was attractive, although there seemed to be a lack of instruction. Not everybody dared to touch or interact with the "hacked" smartphones. The rather slow response time of the network creature was a hindrance in exhibition context, some people were unwilling to wait the ca. 30 seconds it took for a response to arrive. Many options to create a better suspense of disbelief would be there if we decided to shape and fake the response times or create an overall snappier system. Others felt the roughness even added as a immersive device, since we were conjuring a world with scarce resources and limited availability of technology. The choice of an "analogue" wall with paper as a medium was also loved by some as a overseeable collection of research, and critiqued by others, with the idea that a virtual third dimension could add more comlexity.</p>
Interestingly, the larger Berlin community using the same network protocol, responded quite funnily to the Chatbot suddenly taking over their conversational space. For some interations, see the screenshots in the previous section.</p>
Reflection</h2>
Communication</h3>
The studio started with a diverse range of interests and research questions in mind. Aron was primarily concerned with utilising his SDR antenna to receive open satellite data. Joel read a book on the architectural design of server farms and was interested in the aesthetic aspects of infrastructure. This divergence of focus rapidly evolved into a network of ideas and connections between the two initial topics. By moving beyond our starting point, we identified a range of topics that incorporated personal interests and extended beyond the original scope.</p>
Our communication is structured around a weekly cycle that comprises various distinct phases, which themselves have evolved in parallel with the ongoing evolution of the project. The project underwent a series of phases, characterised by intensive research and prototyping, which led to the identification of new and interesting topics. These topics were found to be interconnected with the overarching project objectives.</p>
We experienced periods of divided attention, which were followed by brainstorming sessions on the sharing and evaluation of the research topics. Joining forces again to work on prototypes and visualisations. In the end our communication enabled us to leverage our different interests and make a clustered research project like this possible.</p>
Museum</h4>
On 24th of January, we went together to the Technikmuseum Berlin. they had an exhibition on Networks and the Internet. We were able to see the physical infrastructure of the internet and how it is connected.</p>
Inside the Technikmuseum</p>

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An early Subsea-Cable</p> </li>
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Postcards of Radio Receptions</p> </li>
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A fiber-optic distribution box</p> </li>
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A section of the very first subsea-Cable sold as souvenirs in the 19th century</p> </li> </ul> </div>
Already armed with the idea that cables serve as a wonderful vehicle to analyze and visualize infrastructure, we were very pleased to find out, that the network exhibition dedicated a large portion to explain to us how important cabling is in the networked world. Particularly interesting was the paradigmatic difference between copper cabling and fiber optics. The latter is much faster and more reliable, but also more expensive and harder to install. Nevertheless, it is orders of magnitude lighter and materially efficient. Fiber optics enabled the globalized network of today.</p>
Echoing Dimensions</h4>
After the Studio Presentation, we then went on to display a continued version of this project within the Sellerie Weekend during the Berlin Art week in the Kunstraum Potsdamer Strasse. Read all about it here</strong></a>.</p>
Individual Part</h2> Aron</h3>
Within the framework of the studio project, I noticed many of the advantages of working in a team and iterating on creative ideas collectively. Artistic work is unimaginable for me as a solo project. We had a fast feedback cycle and could iterate on ideas efficiently by bouncing them back and forth. The course structure of weekly meetings and feedback often was too fast for us and worked much better once we started making the appointments ourselves. One big new thing within the project for me was the Pi Picos and microcontrollers in general. I did have some experience with Raspberry Pi before, but now being able to play with microcontrollers at a hardware level equivalent to an Arduino set was quite a new experience on the Pico hardware. I am glad to be able to have such a versatile platform for future projects. Also very new for me was the creative work in Touchdesigner. There especially a workshop with Maxime Letelier helped enormously to take away fears of a complex tool. For 5 days we learned about maximizing performance and common patterns to create movement and interesting visual patterns. I am still not confident in Touchdesigner, even though it is pythonic, but I can debug and definitely prefer Touchdesigner over all its bigger counterparts like Unreal engine and Unity. The last year for me was a focus on local and offline computing, sometiomes called edge computing, and there it is a huge advantage for software packages to have wide platform support and efficiently manage their resources. Politically, i think cloud solutions and remote computation fill fail and increase corporate dependency. Additionally, working locally and offline goes along really well with installative work where internet might be sparse, or you may simply want to eliminate another unknown from the equation.</p>
One future project that emerged from this rationale was the airaspi</a> build, which can do all kinds of image recognition in realtime on the fly, something which was unimaginable for consumer use just 6 years ago.</p>
Sources</h2>
Ahmed</strong>, S. (2020). Queer phenomenology: Orientations, objects, others. Duke University Press.</p>
Bastani</strong>, A. (2019). Fully automated luxury communism. Verso Books.</p>
Bowker</strong>, G. C. and Star</strong> S. (2000). Sorting Things Out. The MIT Press.</p>
CyberRäuber</strong>, (2019). Marcel Karnapke, Björn Lengers, Prometheus Unbound, Landestheater Linz Prometheus Unbound</a></p>
Demirovic</strong>, A. (2007). Hegemonie und die diskursive Konstruktion der Gesellschaft. Nonhoff, Martin (Hg.): Diskurs, radikale Demokratie, Hegemonie. Zum politischen Denken von Ernesto Laclau und Chantal Mouffe, Bielefeld: transcript, 55-85.</p>
Demirovic</strong>, A.: Hegemonie funktioniert nicht ohne Exklusion</a></p>
Gramsci</strong> on Hegemony: Stanford Encyclopedia</a></p>
Hunger</strong>, F. (2015). Search Routines: Tales of Databases. D21 Kunstraum Leipzig. Tales of Databases</a></p>
Hunger</strong>, F. (2015, May 21). Blog Entry. Database Cultures Database Infrastructure – Factual repercussions of a ghost</a></p>
Maak</strong>, N. (2022). Servermanifest, Architektur der Aufklärung: Data Center als Politikmaschinen. Hatje Cantz.</p>
Morozov</strong>, E. (2011). The net delusion: How not to liberate the world. Penguin UK.</p>
Morozov</strong>, E. (2016). The net delusion: How not to liberate the world. In Democracy: A Reader (pp. 436-440). Columbia University Press.</p>
Morton</strong>, T. (2014). Hyperobjects: Philosophy and Ecology After the End of the World. Minneapolis: University of Minnesota Press.</p>
Mouffe</strong>, C. (2014). Hegemony and ideology in Gramsci. In Gramsci and Marxist Theory (RLE: Gramsci) (pp. 168-204). Routledge.</p>
Ọnụọha</strong>, M. (2021). These Networks In Our Skin (Video), Aethers Bloom, Gropius Bau. These Networks In Our Skin</a></p>
Ọnụọha</strong>, M. (2022). The Cloth in the Cable, Aethers Bloom, Gropius Bau. The Cloth in the Cable</a></p>
Parks</strong>, L. (2012). Technostruggles and the satellite dish: A populist approach to infrastructure. In Cultural technologies (pp. 64-84). Routledge. Lisa Parks on Lensbased.net</a></p>
Seemann</strong>, M. (2021). Die Macht der Plattformen: Politik in Zeiten der Internetgiganten. Berlin Ch. Links Verlag. Podcast with Michael Seemann</a></p>
Stäheli</strong>, U. (1999). Die politische Theorie der Hegemonie: Ernesto Laclau und Chantal Mouffe. Politische Theorien der Gegenwart, 143-166. Podcast with Urs Stäheli</a></p>
A podcast explantation on The concepts by Mouffe and Laclau: Video: TLDR on Mouffe/Laclau</a></p>
Sonstige Quellen</h2>

Unfold</summary>
The SDR Antenna we used:</strong> NESDR Smart</a></p>
Andere Antennenoptionen:</strong> HackRF One</a></p>
Frequency Analyzer + Replayer Flipper Zero</a></p>
Hackerethik</strong> CCC Hackerethik</a></p>
Radio freies Wendland</strong> Wikipedia: Radio Freies Wendland</a></p>
Freie Radios</strong> Wikipedia: Definition Freie Radios</a></p>
Radio Dreyeckland</strong> RDL</a></p>
some news articles</strong> RND Newsstory: Querdenker kapern Sendefrequenz von 1Live</a></p>
NDR Reportage: Westradio in der DDR</a></p>
SmallCells</strong> SmallCells</a></p>
The Thought Emporium</strong>: a Youtuber, that successfully makes visible WiFi signals: Thought Emporium</a></p>
The Wifi Camera</a></p>
Catching Satellite Images</a></p>
Was ist eigentlich RF</strong> (Radio Frequency): RF Explanation</a></p>
Bundesnetzagentur</strong>, Funknetzvergabe Funknetzvergabe</a></p>
BOS Funk</strong> BOS</a></p> </details>
Our documentation</h3>
The network creature: Github repo: privateGPT</a></p>
Github repo: SDR</a></p>
Appendix</h2>
Glossary</h3>

Click to see</summary>
Antenna</h4>
The antenna is the interface between radio waves propagating through Space and electrical currents moving in metal conductors, used with a transmitter or receiver.</p>
Anthropocentrism</h4>
The belief of humans as the last evolutionary step in our system is aided by a constant Quest to find “the humane“, the essence that distinguishes us from the non-human.</p>
Meshtastic</h4>
Meshtastic is an open-source, off-grid, decentralized, peer-to-peer mesh network designed to run on low-cost, low-power devices that provide the chat interface. It is capable of sending text messages with minimal infrastructure requirements.</p>
LoRa</h4>
Long-range communication, similar to ham radios, operates on EU868, an open frequency space. Range and bandwidth are inversely related, so we trade range for low transfer rates. This is sufficient for small data packets, but not for full audio transfer.</p>
LLM</h4>
Large Language Models gained popularity with ChatGPT and other similar models. Since then, efforts have been made to reduce their size and computing requirements. As a result, some models can now be run locally and offline.</p>
SciFi</h4>
Science fiction writers often seek out new scientific and technical developments to prognosticate freely the techno-social changes that will shock the readers’ sense of what is culturally appropriate and expand their consciousness.</p>
SDR</h4>
Software Defined Radio (SDR) is a programmable radio receiver for various frequencies. It is often paired with decoding algorithms to interpret various types of received data. The connected antenna determines the reception pattern.</p>
GQRX</h4>
GQRX is an open source software for the software-defined radio.</p>
GQRX Software</a></p>
</p>
Nesdr smaRT v5</h4>
This is the SDR we use, which can be controlled via USB and interfaces well with GQRX. It supports frequencies ranging from 100kHz to 1.75GHz, including many ham radio frequencies, remotes, phones, walkie-talkies, airplanes, police radios, and our LoRa mesh.</p>
Infrastructure</h4>
Infrastructure refers to the physical and organizational structures and facilities required for the operation of a society or enterprise, such as buildings, roads, and power supplies. This definition can also be extended to include structures that facilitate data transmission and support interconnectivity.</p>
Radio waves</h4>
Radio waves are a type of electromagnetic radiation that can carry information. They use the longest wavelengths in the electromagnetic spectrum, typically with frequencies of 300GHz or lower. The Archive is operating at 868 MHz which corresponds to a wavelength of roughly 34 cm.</p>
Lilygo T3S3</h4>
ESP32-S3 LoRa SX1280 2.4G development board. Contains an ESP32 chip, WIFI, Bluetooth and a LoRa module. Can be connected via serial, Bluetooth or network. Is supported by meshtastic. Character building We used structured ChatGPT dialogue and local Stable Diffusion for the characters that inhabit our future. Ask the archive for more info about them.</p>
PrivateGPT</h4>
PrivateGPT is a set of libraries based on llama-index that allow local and offline inference using the computer‘s graphics card. PrivateGPT is particularly good at incorporating local documents. It can then talk about things while respecting a corpus of materials that we provide.</p>
Transhumanism</h4>
Broadly, the idea that human beings can achieve their next evolutionary step, Human 2.0, through technological advances. Opinions differ as to how this post-human state will be achieved, either through genetic engineering, reverse aging or other technological advances. In our view, it is inspired by Social Darwinism.</p>
Perception of Infrastructure</h4>
At its core, infrastructure is an evasive structure. Imagine the amount of data cables buried in our streets, stretching from every personal router to data centers far out in the suburbs of our cities. None of this actual “structure“ is meant to be seen or interacted with until it fails…</p>
Network interface</h4>
We consider any device that has both user interactivity and Internet/network access to be a network interface.</p>
Eco-Terrorism</h4>
Ecotage refers to infrastructure sabotage with ecological goals, while eco-terrorism is even more militant and will use militant strategies with the specific aim of creating terror as a social deterrent.</p>
Prepping</h4>
Prepping is the act of preparing for the time after the catastrophe, resulting from the belief that current social models will collapse in an apocalyptic manner. Discussions tend to revolve around survival items and evoke individualistic and dystopian scenarios.</p>
Infrastructure inversion</h4>
“rather than setting out to describe and document all parts of the system that make a footprint possible, the analysis focuses upon a selection of localized sites or issues as suggestive parts of a broader system that is imperceptible in its entirety” (Parks 2009)</p>
Neo-Religion</h4>
The Internet, as a network of networks, is such a multifaceted term that it has room for spiritual feelings in the interaction with the network. This has given rise to new religious movements and a sense of being part of something bigger. Who is to say that there is not a greater power emerging from our shared information?</p>
Neo-Luddism</h4>
Neo-Luddism is a leaderless movement of unaffiliated groups who resist modern technology by passively refraining from using technology, harming those who produce environmentally harmful technology, or sabotaging that technology.</p>
Sub-sea-cables</h4>
Cables are often referred to as the backbone of the Internet. Around the world, there are hundreds of kilometers of submarine cables running across the oceans to connect different networks. They are heavy, expensive and buried deep in the sea. Chances are you have never seen one, yet you rely on them every day to deliver information and content.</p>
Optical fiber cable</h4>
Fiber optic cables were developed in the 1980s. The first transatlantic telephone cable to use optical fiber was TAT-8, which went into service in 1988. A fiber optic cable consists of several pairs of fibers. Each pair has one fiber in each direction.</p>
Copper cable</h4>
Copper is a rare metal and its use contributes to global neo-colonial power structures resulting in a multitude of exploitative practices. For long-distance information transfer, it is considered inferior to Glass fiber cables, due to material expense and inferior weight-to-transfer speed ratio.</p>
Collapsology</h4>
Collapsology is based on the idea that humans are having a sustained and negative impact on their environment and promotes the concept of an environmental emergency, particularly in relation to global warming and the loss of biodiversity. One potential effect of a collapse is the loss of networks.</p>
Posthumanism</h4>
Is concerned with the “ongoing deconstruction of humanism” and its premises: humanism’s anthropocentrism, essentialism and speciesism. It is informed by post-anthropocentric ethics, politics, and ecology, and looks toward notions of embodiment and material entanglement between humans and a “more-than-human” world. It emphasizes becoming over being.</p> </details>

Übersetzung: AIRASPI Build Log

2024-01-30T00:00:00+00:00

AI-Raspi Build Log</h2>
This should document the rough steps to recreate airaspi as I go along.</p>
Rough Idea: Build an edge device with image recognition and object detection capabilites.
It should be realtime, aiming for 30fps at 720p.
Portability and usage at installations is a priority, so it has to function without active internet connection and be as small as possible.
It would be a real Edge Device, with no computation happening in the cloud.</p>
Inspo from: pose2art</a></p>

Hardware</h2>

Raspberry Pi 5</a></li>
Raspberry Pi Camera Module v1.3</a></li>
Raspberry Pi GlobalShutter Camera</a></li>
2x CSI FPC Cable (needs one compact side to fit pi 5)</li>
Pineberry AI Hat (m.2 E key)</a></li>
Coral Dual Edge TPU (m.2 E key)</a></li>
Raspi Official 5A Power Supply</li>
Raspi active cooler</li> </ul>
Setup</h2>
Most important sources used</h3>
coral.ai</a> Jeff Geerling</a> Frigate NVR</a></p>
Raspberry Pi OS</h3>
I used the Raspberry Pi Imager to flash the latest Raspberry Pi OS Lite to a SD Card.</p>
Needs to be Debian Bookworm.
Needs to be the full arm64 image (with desktop), otherwise you will get into camera driver hell. {: .notice}</p>
Settings applied:</p>

used the default arm64 image (with desktop)</li>
enable custom settings:</li>
enable ssh</li>
set wifi country</li>
set wifi ssid and password</li>
set locale</li>
set hostname: airaspi</li> </ul>
update</h3>
This is always good practice on a fresh install. It takes quite long with the full os image.</p>
`sudo apt update && sudo apt upgrade -y && sudo reboot </code></pre>`
prep system for coral</h3>
Thanks again @Jeff Geerling, this is completely out of my comfort zone, I rely on people writing solid tutorials like this one.</p>
`# check kernel version uname -a </code></pre>`
`# modify config.txt sudo nano /boot/firmware/config.txt </code></pre> While in the file, add the following lines:</p>`
kernel=kernel8.img dtparam=pciex1 dtparam=pciex1_gen=2 </code></pre> Save and reboot:</p> sudo reboot </code></pre> # check kernel version again uname -a </code></pre> should be different now, with a -v8 at the end</li> </ul> edit /boot/firmware/cmdline.txt</p> sudo nano /boot/firmware/cmdline.txt </code></pre> add pcie_aspm=off before rootwait</li> </ul> sudo reboot </code></pre> change device tree</h3> wrong device tree</h4> The script simply did not work for me.</p> maybe this script is the issue? i will try again without it {: .notice}</p> curl https://gist.githubusercontent.com/dataslayermedia/714ec5a9601249d9ee754919dea49c7e/raw/32d21f73bd1ebb33854c2b059e94abe7767c3d7e/coral-ai-pcie-edge-tpu-raspberrypi-5-setup | sh </code></pre> Yes it was the issue, wrote a comment about it on the gist comment</a></li> </ul> What to do instead?</p> Here, I followed Jeff Geerling down to the T. Please refer to his tutorial for more information.</p> In the meantime the Script got updated and it is now recommended again. {: .notice}</p> # Back up the current dtb sudo cp /boot/firmware/bcm2712-rpi-5-b.dtb /boot/firmware/bcm2712-rpi-5-b.dtb.bak # Decompile the current dtb (ignore warnings) dtc -I dtb -O dts /boot/firmware/bcm2712-rpi-5-b.dtb -o ~/test.dts # Edit the file nano ~/test.dts # Change the line: msi-parent = <0x2f>; (under `pcie@110000`) # To: msi-parent = <0x66>; # Then save the file. # Recompile the dtb and move it back to the firmware directory dtc -I dts -O dtb ~/test.dts -o ~/test.dtb sudo mv ~/test.dtb /boot/firmware/bcm2712-rpi-5-b.dtb </code></pre> Note: msi- parent sems to carry the value <0x2c> nowadays, cost me a few hours. {: .notice}</p> install apex driver</h3> following instructions from coral.ai</a></p> echo "deb https://packages.cloud.google.com/apt coral-edgetpu-stable main" | sudo tee /etc/apt/sources.list.d/coral-edgetpu.list curl https://packages.cloud.google.com/apt/doc/apt-key.gpg | sudo apt-key add - sudo apt-get update sudo apt-get install gasket-dkms libedgetpu1-std sudo sh -c "echo 'SUBSYSTEM==\"apex\", MODE=\"0660\", GROUP=\"apex\"' >> /etc/udev/rules.d/65-apex.rules" sudo groupadd apex sudo adduser $USER apex </code></pre> Verify with</p> lspci -nn | grep 089a </code></pre> should display the connected tpu</li> </ul> sudo reboot </code></pre> confirm with, if the output is not /dev/apex_0, something went wrong</p> ls /dev/apex_0 </code></pre> Docker</h3> Install docker, use the official instructions for debian.</p> curl -fsSL https://get.docker.com -o get-docker.sh sudo sh get-docker.sh </code></pre> # add user to docker group sudo groupadd docker sudo usermod -aG docker $USER </code></pre> Probably a source with source .bashrc would be enough, but I rebooted anyways {: .notice}</p> sudo reboot </code></pre> # verify with docker run hello-world </code></pre> set docker to start on boot</h3> sudo systemctl enable docker.service sudo systemctl enable containerd.service </code></pre> Test the edge tpu</h3> mkdir coraltest cd coraltest sudo nano Dockerfile </code></pre> Into the new file, paste:</p> FROM debian:10 WORKDIR /home ENV HOME /home RUN cd ~ RUN apt-get update RUN apt-get install -y git nano python3-pip python-dev pkg-config wget usbutils curl RUN echo "deb https://packages.cloud.google.com/apt coral-edgetpu-stable main" \ | tee /etc/apt/sources.list.d/coral-edgetpu.list RUN curl https://packages.cloud.google.com/apt/doc/apt-key.gpg | apt-key add - RUN apt-get update RUN apt-get install -y edgetpu-examples </code></pre> # build the docker container docker build -t "coral" . </code></pre> # run the docker container docker run -it --device /dev/apex_0:/dev/apex_0 coral /bin/bash </code></pre> # run an inference example from within the container python3 /usr/share/edgetpu/examples/classify_image.py --model /usr/share/edgetpu/examples/models/mobilenet_v2_1.0_224_inat_bird_quant_edgetpu.tflite --label /usr/share/edgetpu/examples/models/inat_bird_labels.txt --image /usr/share/edgetpu/examples/images/bird.bmp </code></pre> Here, you should see the inference results from the edge tpu with some confidence values. If it ain't so, safest bet is a clean restart</p> Portainer</h3> This is optional, gives you a browser gui for your various docker containers {: .notice}</p> Install portainer</p> docker volume create portainer_data docker run -d -p 8000:8000 -p 9443:9443 --name portainer --restart=always -v /var/run/docker.sock:/var/run/docker.sock -v portainer_data:/data portainer/portainer-ce:latest </code></pre> open portainer in browser and set admin password</p> should be available under https://airaspi.local:9443</a></li> </ul> vnc in raspi-config</h3> optional, useful to test your cameras on your headless device. You could of course also attach a monitor, but i find this more convenient. {: .notice}</p> sudo raspi-config </code></pre> -- interface otions, enable vnc</p> connect through vnc viewer</h3> Install vnc viewer on mac. Use airaspi.local:5900 as address.</p> working docker-compose for frigate</h3> Start this as a custom template in portainer.</p> Important: you need to change the paths to your own paths {: .notice}</p> version: "3.9" services: frigate: container_name: frigate privileged: true # this may not be necessary for all setups restart: unless-stopped image: ghcr.io/blakeblackshear/frigate:stable shm_size: "64mb" # update for your cameras based on calculation above devices: - /dev/apex_0:/dev/apex_0 # passes a PCIe Coral, follow driver instructions here https://coral.ai/docs/m2/get-started/#2a-on-linux volumes: - /etc/localtime:/etc/localtime:ro - /home/aron/frigate/config.yml:/config/config.yml # replace with your config file - /home/aron/frigate/storage:/media/frigate # replace with your storage directory - type: tmpfs # Optional: 1GB of memory, reduces SSD/SD Card wear target: /tmp/cache tmpfs: size: 1000000000 ports: - "5000:5000" - "8554:8554" # RTSP feeds - "8555:8555/tcp" # WebRTC over tcp - "8555:8555/udp" # WebRTC over udp environment: FRIGATE_RTSP_PASSWORD: "******" </code></pre> Working frigate config file</h3> Frigate wants this file wherever you specified earlier that it will be. This is necessary just once. Afterwards, you will be able to change the config in the gui. {: .notice}</p> mqtt: enabled: False detectors: cpu1: type: cpu num_threads: 3 coral_pci: type: edgetpu device: pci cameras: cam1: # <++++++ Name the camera ffmpeg: hwaccel_args: preset-rpi-64-h264 inputs: - path: rtsp://192.168.1.58:8900/cam1 roles: - detect cam2: # <++++++ Name the camera ffmpeg: hwaccel_args: preset-rpi-64-h264 inputs: - path: rtsp://192.168.1.58:8900/cam2 roles: - detect detect: enabled: True # <+++- disable detection until you have a working camera feed width: 1280 # <+++- update for your camera's resolution height: 720 # <+++- update for your camera's resolution </code></pre> mediamtx</h3> install mediamtx, do not use the docker version, it will be painful</p> double check the chip architecture here, caused me some headache {: .notice}</p> mkdir mediamtx cd mediamtx wget https://github.com/bluenviron/mediamtx/releases/download/v1.5.0/mediamtx_v1.5.0_linux_arm64v8.tar.gz tar xzvf mediamtx_v1.5.0_linux_arm64v8.tar.gz && rm mediamtx_v1.5.0_linux_arm64v8.tar.gz </code></pre> edit the mediamtx.yml file</p> working paths section in mediamtx.yml</h3> paths: cam1: runOnInit: bash -c 'rpicam-vid -t 0 --camera 0 --nopreview --codec yuv420 --width 1280 --height 720 --inline --listen -o - | ffmpeg -f rawvideo -pix_fmt yuv420p -s:v 1280x720 -i /dev/stdin -c:v libx264 -preset ultrafast -tune zerolatency -f rtsp rtsp://localhost:$RTSP_PORT/$MTX_PATH' runOnInitRestart: yes cam2: runOnInit: bash -c 'rpicam-vid -t 0 --camera 1 --nopreview --codec yuv420 --width 1280 --height 720 --inline --listen -o - | ffmpeg -f rawvideo -pix_fmt yuv420p -s:v 1280x720 -i /dev/stdin -c:v libx264 -preset ultrafast -tune zerolatency -f rtsp rtsp://localhost:$RTSP_PORT/$MTX_PATH' runOnInitRestart: yes </code></pre> also change rtspAddress: :8554 to rtspAddress: :8900 Otherwise there is a conflict with frigate.</p> With this, you should be able to start mediamtx.</p> ./mediamtx </code></pre> If there is no error, you can verify your stream through vlc under rtsp://airaspi.local:8900/cam1 (default would be 8554, but we changed it in the config file)</p> Current Status</h3> I get working streams from both cameras, sending them out at 30fps at 720p. frigate, however limits the display fps to 5, which is depressing to watch, especially since the tpu doesnt even break a little sweat.</p> Frigate claime that the TPU is good for up to 10 cameras, so there is headroom.</p> The stram is completely errant and drops frames left and right. I have sometimes seen detect fps of 0.2, but the TPU speed should definitely not be the bottleneck here. Maybe attach the cameras to a separate device and stream from there?</p> The biggest issue here is that the google folx seems to have abandoned the coral, even though they just released a new piece of hardware for it. Their most RECENT python build is 3.9. Specifically, pycoral seems to be the problem there. without a decent update, I will be confined to debian 10, with python 3.7.3. That sucks. There are custom wheels, but nothing that seems plug and play.</p> About the rest of this setup: The decision to go for m.2 E key to save money, instead of spending more on the usb version was a huge mistake. Please do yourself a favor and spend the extra 40 bucks. Technically, its probably faster and better with continuous operation, but i have yet to feel the benefit of that.</p> TODOs</h3> add images and screenshots to the build log</li> Check whether vdo.ninja is a viable way to add mobile streams. then Smartphone stream evaluation would be on the horizon.</li> Bother the mediamtx makers about the libcamera bump, so we can get rid of the rpicam-vid hack. I suspect there is quirte a lot of performance lost there.</li> tweak the frigate config to get snapshots and maybe build an image / video database to later train a custom model.</li> worry about attaching an external ssd and saving the video files on it.</li> find a way to export the landmark points from frigate. maybe send them via osc like in pose2art?</li> find a different hat that lets me access the other TPU? I have the dual version, but can currently only acces 1 of the 2 TPUs due to hardware restrictions.</li> </ul>

Aron Petau

Studio UMZU ist gestartet

einszwovier: löten und leuchten

einszwovier: making of

Die Entstehung von studio einszwovier</h2>

August 2024</h2> Wir begannen mit dem Aufbau und der Planung der Raumgestaltung sowie der Ausstattung. Dabei hatten wir die Möglichkeit, die Werkbank selbst aus Holz zu bauen – so wurde sie zu etwas Eigenem.</p>

einszwovier: vogelvilla

Contact

Terms und Privacy

Eingebettete YouTube-Videos</h3> Auf der Website sind YouTube-Videos eingebettet. Leider bedeutet das, dass YouTube dein Betrachtungsverhalten verfolgen kann, wenn du diese Videos ansiehst.</p>

Master's Thesis

Übersetzung: Käsewerkstatt

Übersetzung: Sferics

Übersetzung: Echoing Dimensions

Echoing Dimensions</h2>

Build Log</h2> 2024-01-25</h3> First Time seeing the Space:</p> </iframe> 2024-02-01</h3> Signing Contract</p> 2024-02-08</h3> The Collective Exibition Text:</p>

2024-01-25</h3> First Time seeing the Space:</p> </iframe>

2024-02-01</h3> Signing Contract</p>

2024-02-08</h3> The Collective Exibition Text:</p>

2024-02-15</h3> Working TD Prototype. We collect the pointcloud information through a kinect azure and sorting the output of the device turned out to be quite tricky.</p>

Übersetzung: Local Diffusion

aethercomms

AetherComms</h2> Studio Work Documentation A Project by Aron Petau and Joel Tenenberg.</p>

Process</h3> We met 2 to 3 times weekly throughout the entire year, here is a short overview of our process and findings throughout.</p>

Semester 1</h4>

The Distance Sensors</h5> The distance sensor as a contactless and intuitive control element:</p>

Methods</h3> We applied a variety of methods to explore the questions we posed in the first semester. Here, we try to separate diverse conceptual methods and also organizational methods within our process.</p>

Analytic Techniques</h3>

Tools</h3>

Reflection</h2>

Museum</h4> On 24th of January, we went together to the Technikmuseum Berlin. they had an exhibition on Networks and the Internet. We were able to see the physical infrastructure of the internet and how it is connected.</p> Inside the Technikmuseum</p>

Antenna</h4> The antenna is the interface between radio waves propagating through Space and electrical currents moving in metal conductors, used with a transmitter or receiver.</p>

Anthropocentrism</h4> The belief of humans as the last evolutionary step in our system is aided by a constant Quest to find “the humane“, the essence that distinguishes us from the non-human.</p>

Meshtastic</h4> Meshtastic is an open-source, off-grid, decentralized, peer-to-peer mesh network designed to run on low-cost, low-power devices that provide the chat interface. It is capable of sending text messages with minimal infrastructure requirements.</p>

LoRa</h4> Long-range communication, similar to ham radios, operates on EU868, an open frequency space. Range and bandwidth are inversely related, so we trade range for low transfer rates. This is sufficient for small data packets, but not for full audio transfer.</p>

LLM</h4> Large Language Models gained popularity with ChatGPT and other similar models. Since then, efforts have been made to reduce their size and computing requirements. As a result, some models can now be run locally and offline.</p>

SciFi</h4> Science fiction writers often seek out new scientific and technical developments to prognosticate freely the techno-social changes that will shock the readers’ sense of what is culturally appropriate and expand their consciousness.</p>

SDR</h4> Software Defined Radio (SDR) is a programmable radio receiver for various frequencies. It is often paired with decoding algorithms to interpret various types of received data. The connected antenna determines the reception pattern.</p>

GQRX</h4> GQRX is an open source software for the software-defined radio.</p>

Network interface</h4> We consider any device that has both user interactivity and Internet/network access to be a network interface.</p>

Eco-Terrorism</h4> Ecotage refers to infrastructure sabotage with ecological goals, while eco-terrorism is even more militant and will use militant strategies with the specific aim of creating terror as a social deterrent.</p>

Prepping</h4> Prepping is the act of preparing for the time after the catastrophe, resulting from the belief that current social models will collapse in an apocalyptic manner. Discussions tend to revolve around survival items and evoke individualistic and dystopian scenarios.</p>

Neo-Luddism</h4> Neo-Luddism is a leaderless movement of unaffiliated groups who resist modern technology by passively refraining from using technology, harming those who produce environmentally harmful technology, or sabotaging that technology.</p>

Optical fiber cable</h4> Fiber optic cables were developed in the 1980s. The first transatlantic telephone cable to use optical fiber was TAT-8, which went into service in 1988. A fiber optic cable consists of several pairs of fibers. Each pair has one fiber in each direction.</p>

Übersetzung: AIRASPI Build Log

Setup</h2>

update</h3> This is always good practice on a fresh install. It takes quite long with the full os image.</p>

prep system for coral</h3> Thanks again @Jeff Geerling, this is completely out of my comfort zone, I rely on people writing solid tutorials like this one.</p>

change device tree</h3>

Docker</h3> Install docker, use the official instructions for debian.</p>

connect through vnc viewer</h3> Install vnc viewer on mac. Use airaspi.local:5900 as address.</p>

Autos als Gemeingut

Commoning cars</h2>

August 2024</h2>
Wir begannen mit dem Aufbau und der Planung der Raumgestaltung sowie der Ausstattung. Dabei hatten wir die Möglichkeit, die Werkbank selbst aus Holz zu bauen – so wurde sie zu etwas Eigenem.</p>

Eingebettete YouTube-Videos</h3>
Auf der Website sind YouTube-Videos eingebettet. Leider bedeutet das, dass YouTube dein Betrachtungsverhalten verfolgen kann, wenn du diese Videos ansiehst.</p>

2024-01-25</h3>
First Time seeing the Space:</p> </iframe>

2024-02-01</h3>
Signing Contract</p>

2024-02-15</h3>
Working TD Prototype. We collect the pointcloud information through a kinect azure and sorting the output of the device turned out to be quite tricky.</p>

AetherComms</h2>
Studio Work Documentation
A Project by Aron Petau and Joel Tenenberg.</p>

Process</h3>
We met 2 to 3 times weekly throughout the entire year, here is a short overview of our process and findings throughout.</p>

Methods</h3>
We applied a variety of methods to explore the questions we posed in the first semester. Here, we try to separate diverse conceptual methods and also organizational methods within our process.</p>

Antenna</h4>
The antenna is the interface between radio waves propagating through Space and electrical currents moving in metal conductors, used with a transmitter or receiver.</p>

Anthropocentrism</h4>
The belief of humans as the last evolutionary step in our system is aided by a constant Quest to find “the humane“, the essence that distinguishes us from the non-human.</p>

Meshtastic</h4>
Meshtastic is an open-source, off-grid, decentralized, peer-to-peer mesh network designed to run on low-cost, low-power devices that provide the chat interface. It is capable of sending text messages with minimal infrastructure requirements.</p>

LoRa</h4>
Long-range communication, similar to ham radios, operates on EU868, an open frequency space. Range and bandwidth are inversely related, so we trade range for low transfer rates. This is sufficient for small data packets, but not for full audio transfer.</p>

LLM</h4>
Large Language Models gained popularity with ChatGPT and other similar models. Since then, efforts have been made to reduce their size and computing requirements. As a result, some models can now be run locally and offline.</p>

SciFi</h4>
Science fiction writers often seek out new scientific and technical developments to prognosticate freely the techno-social changes that will shock the readers’ sense of what is culturally appropriate and expand their consciousness.</p>

SDR</h4>
Software Defined Radio (SDR) is a programmable radio receiver for various frequencies. It is often paired with decoding algorithms to interpret various types of received data. The connected antenna determines the reception pattern.</p>

GQRX</h4>
GQRX is an open source software for the software-defined radio.</p>
GQRX Software</a></p>
</p>

Network interface</h4>
We consider any device that has both user interactivity and Internet/network access to be a network interface.</p>

Eco-Terrorism</h4>
Ecotage refers to infrastructure sabotage with ecological goals, while eco-terrorism is even more militant and will use militant strategies with the specific aim of creating terror as a social deterrent.</p>

Prepping</h4>
Prepping is the act of preparing for the time after the catastrophe, resulting from the belief that current social models will collapse in an apocalyptic manner. Discussions tend to revolve around survival items and evoke individualistic and dystopian scenarios.</p>

Neo-Luddism</h4>
Neo-Luddism is a leaderless movement of unaffiliated groups who resist modern technology by passively refraining from using technology, harming those who produce environmentally harmful technology, or sabotaging that technology.</p>

Optical fiber cable</h4>
Fiber optic cables were developed in the 1980s. The first transatlantic telephone cable to use optical fiber was TAT-8, which went into service in 1988. A fiber optic cable consists of several pairs of fibers. Each pair has one fiber in each direction.</p>

connect through vnc viewer</h3>
Install vnc viewer on mac.
Use airaspi.local:5900 as address.</p>