The state of fast food self ordering

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When I moved to California in 2015, I was both excited and frustrated to see self order kiosks at Jack in the Box. Excited, because self-ordering as a non-interpersonal experience was something I’d been thinking about for a while, and frustrated because these kiosks were always off / out of service. Reduced operating costs and increased order accuracy seemed like some key selling points for such a setup, and the latter was very appealing to me, as someone who rarely orders food with out removing or substituting some topping. I was out there for a year and a half and never saw one of the kiosks turned on.

Fast forward to today, 2020, and we’ve had self ordering kiosks and apps for a while now. I have used Taco Bell’s kiosk a number of times, and generally liked the experience. It’s funny, the folks assembling orders still get my stuff wrong a lot, but I don’t stress about it as much as when I order with a human. I think the real value I’ve found in it is that I don’t feel pressured to decide my order quickly like I do when a cashier is staring at me as I scan the menu. A side product of that along with a more compartmentalized Information Architecture is that it’s easier for me to discover new menu items.

I don’t go to McDonald’s often, but when I do, I’ve enjoyed using their Kiosk. I went last weekend and was reflecting on the UX of the thing and the bigger service design that that kiosk fits into. A couple of observations / thoughts:

  • It’s weird that as touch screen kiosks become more common, they are getting larger, but we’re still using UI paradigms from the small screen world. ie: the “next” and “back” navigation buttons are at the bottom of the screen which is out of my field of attention, especially when items and status messages still appear at the top. It took me a second to realize what I needed to do next.
  • Physical product human factors are now more into play than they have been in the past. The kiosk works ok for me as a 5’11” person (with the caveat of the point above) but how does it work for a 4′ person.. or a 6’7″ person? At Taco Bell, the kiosk screen seems low for me, and the card reader is positioned strangely for someone of my height.
  • Where does the kiosk interaction fit in the larger experience? McDonalds has tied the digital to the physical with “table tents”. The UI asks you to grab a numbered tent, and enter it’s number.  The server then uses that to find you to deliver your food. Taco Bell just calls out your number for you to retrieve the food yourself. I think it’s a nice touch on the part of McDonalds, but I wonder if the staff who deliver the food get any special training in hospitality. Should they?
  • There are a lot of opportunities to improve or change the larger experience. I think the biggest one is the handling of drinks. Both of these restaurants already do self-serve beverages, but under the kiosk ordering model, you don’t get your cup until your food is delivered. This is kind of a gap from the perspective of the traditional way of ordering where you get the cup as soon as you pay which gives you something to do / enjoy while you wait for the food.  In an even broader context, we can reconsider what the fast food experience is, which could lead to differentiation strategies. I was always fascinated by the strange niche carved out by Steak N Shake – it’s fast(ish) food, but you sit down and have table service. The floundering of that business may be a sign that their model isn’t all that desirable, but maybe there are still desirable elements to it. McDonald’s kiosk + table delivery model gets into that. I appreciate not having to get up to go get my order. Do I need an actual waiter to visit me more than once? probably not. ..or maybe? It would be cool if someone came around offering napkins, condiments, or drink refills occasionally. Similarly, the breadstick person at Fazoli’s was always a motivator for my visits there.

It’ll be interesting to see where fast food goes from here. We’re seeing more trends towards carry out only restaurants (or are those now “food preparers”?) which I suspect will generate a lot of convergence with alternative ordering methods. This will also likely come into play with food delivery, an industry vertical that is showing a lot of demand, but no one has yet managed to do in a scalable, satisfying way.

 

Concrete Fence Posts

Since moving back to Indiana in April, I’ve done a lot of cycling. It turns out, even though Hoosier drivers aren’t the most amenable folks to having bikes on their roads, there is so much space in-between everything that riding is pretty good. It doesn’t take long to get out to gravel county roads, and away from most cars. Riding through a lot of areas that time seems to have forgotten has really engaged a standing interest in Indiana history.

One of the things in particular that has interested me as I’ve been putting on the gravel road miles are all the old farm fence posts still left intact.  They are an interesting artifact of a time when (I assume) roads, as such, didn’t exist, and the fences held up by these posts were the divider between farmers fields. This dovetails with some longstanding field-based Indiana location names – Westfield, Greenfield, Bloomfield, Chesterfield, Plainfield, Wheatfield, Winfield.. And probably several more defunct ones.

I’ve snapped pictures of a few of these posts haphazardly. Most are concrete, but there are a swath of weathered lumber, with various forms of bracing, both wood and steel. Continue reading

Business and design – Street Fighter II

I’m going through my old blog posts and trying to dispense with the many posts I started but never finished. This is one of those..

Based on this amazing “Oral history of Street Fighter II” published by video game website, polygon, I had intended to dig deep into some thoughts on how business influences design positively. This is pretty relevant to me, as most of the time it seems like the constraints that business puts on design cause things to be terrible for everyone involved. (don’t get me started on the computer hardware and software industries’ ploy to keep us buying new releases and new crap to run it on, year after year)

Anyhow, I started this post In February of 2014. I’ve slept many times since then, and therefore can’t remember what my contribution to this discussion was to be, but I still think the text below is worth sharing. Yoshiki was the head of arcade development at Capcom Japan. If you’re unfamiliar with the game Street Fighter II, it was a pretty relevant title at the time just before video arcades were overtaken by home consoles. It’s big contribution to the video game world was the two player, head to head setup. I think games like Gauntlet (’85) were already multiplayer, but not in a head to head way, which really increased both the social aspect (I remember the lines to play SFII at Aladdin’s Castle in Castleton Mall, Indianapolis) but also often shortened the play time per quarter, in a “fair” way.

Anyway, a fun story. Check the full tale at polygon – http://www.polygon.com/a/street-fighter-2-oral-history

 

YoshikiokamotoYOSHIKI OKAMOTO:

Back in the day, people at arcades weren’t happy. Space Invaders was popular and cost 100 yen ($1) to play. And we were thinking, if you’re playing a shooter and there’s a lot of bullets coming at you, that’s a lot of fun. But if it doesn’t last very long, then developers are happy and arcade operators are happy, but players aren’t happy. So we were thinking really hard about what would make everybody happy.

We thought about putting big machines in arcades, so you would need to spend 500 yen per game — developers would be happy because they would make more money, players would be happy because they would get a better experience, but arcade operators wouldn’t be happy because it would cost a lot to swap these big machines in and out.

So we thought about it more and came to the conclusion that if two people played at once … operators would get twice the money. Players would essentially split the cost so they could both play for longer. We kind of did that with Final Fight since players help each other out, but we realized some players still felt cheated because the game was too difficult … If we dictated the difficulty, players could always get frustrated. But if players were competing against each other, whether they won or lost would be up to them. So we were thinking that could take out the frustration.

big data needs big tools to sort it

The idea of “big data” is very popular in big business, but it’s trickling down into a lot of other things we use. This should be good; more is better, of course. Well, it is when it doesn’t add to complexity of use. I wanted to share an example of a less than great implementation of big data in a consumer use case…

strava heatmaps

This is the route builder in popular bicycle ride tracking app, Strava. It has a “heat maps” feature that is the big data implementation. It does some mathematical aggregation of all ride traffic to give an idea of how often individual roads are used. The idea, at least I think, is to help you choose “better” bike routes based on the logic that the most people would use the best route. (whatever “best” is a measure of) This is kind of handy in some areas.. Rural places. Small Towns, like Lafayette, where I moved from. But in highly populated areas, like San Diego, where I am now, it’s not as useful. There is a lot of tourist traffic, making some paths, like beachside walkways with high foot traffic, appear to be the right place to ride. My choice of “best” comes from wanting to get to work fast or wanting a hard training ride, so dealing with foot traffic is far from ideal.. but there’s no way to separate it out.

Strava has already started to divide groups by population in other features. “Segments” of routes show a listing by time duration of every user that’s ridden them. This feature has long had a gender segregation, but more recently for paid members offers filtering by age and by weight. Why is this useful? Well, it helps competitive cyclists know how they are doing against other people they might be racing.

I’d really like to see them add to this – it would be great if there was a way to break down the heat map by some categorization. Maybe it’s just max speed on that particular ride. This could weed out the beach cruiser people, or, depending on what you were trying to get out of it, could weed out the folks who are competitive/training.

Regardless, I think this is a decent illustration of lots of data needing more advanced tools to be useful. I think we’re going to be seeing more and more of this as time goes on. It’s a rife place for Interaction Designers to develop new standards.

Skills to help you land a UX job.

This past weekend I had the chance to attend the IDSA (Industrial Design Society of America) Western district conference.  I’ve been to several IDSA events in the past, but skipped last years. It was good to get back and hang out with the Industrial Design “tribe”. (The idea of tribes were one of the themes of this years event) I met a lot of nice people, learned a lot of new things, and had the opportunity to participate in a collaborative “design swarm”.

On the flip side, as a UX designer, I was one of a minority. It’s not a huge difference – much of the methodology of the two disciplines is the same, and many Industrial Designers are taking work in UX as of late. Still, I felt like a bit of a representative of the UX side of things, and people were asking me questions.

Two of the most common questions I heard were: “How do I get a job in UX?” and “What goes in a UX portfolio?” These are both particularly salient areas of thought since UX as a field is still relatively new. Trying to come up with answers on the spot got my mind working, and I put together a short list of things that I think should go into a UX portfolio. I think these things are really representative of the work that happens in industry (at least as far as I’ve seen) and also the stuff that really provides value – whether that’s to clients, or development teams or project managers.

Situational Awareness / Presentation skills

This is not as much a portfolio piece as it is a factor in how the portfolio is presented. And this is a tough one to demonstrate. There are two main factors here:

  1. UX folks should be dealing with people who use, or will use whatever it is that’s being designed. We could pawn that off onto a researcher, but throwing this kind of stuff over the wall is a waste of opportunity. That said, a designer has to be sensitive to those being interviewed/observed and understand their needs; even if it’s just in the context of the interview.
  2. You have to present your work to someone at the end of the project. If you’re just presenting it to your design director, maybe it doesn’t matter as much how you approach the presentation, but there is real value in being able to talk to a dev team, a PM or even the C suite. You have to know what drives them, and address it as you talk about your work.

Structured Research

I’ve seen a lot of really nice student projects with absolutely no basis in research. (or reality) Make sure you’re showing that you can do the science to prove to your audience that you made the right design decisions.

Sometimes just having research isn’t enough. It has to be structured. What was your plan going into the research? Did you have key questions that you asked all respondents? How did you choose them? What did the results statistically tell you?

Insights

Insights are kind of easy. Most designers have these throughout. But as in the above, can you tie the insights to real data and real users?

Process

Industrial design has really provided us a lot of structure in terms of documentation. Any ID process book is a good starting point. It’s important to talk about all of the design activities you did, but maybe more importantly, you should tell why you did them.

Wireframes / Prototyping

This is a gimmie. Everyone should know how to do basic wireframes. But go further – make sure they’re annotated and explain the functionality and the reasons that design decisions were made.

Detailed Design

It’s the next step after wireframes. Know how to specify visual style in a “pixel perfect” way, and be able to show and explain design patterns.

Information Visualization

As we move further into a “big data” world, it’s important to be able to use visuals to help users make sense of statistical data. It’s one thing to come up with a flashy, novel idea, but another to make something that is easy for a user to get use out of.

Strategy

Strategy is emerging as an important part of the UX package as more businesses are using UX to drive sales. The idea is to understand the business goals, design for them, and explain why your design helps the company achieve them. You could say that this is designing with an eye to the business, but it should be more holistic – How does this impact the dev team? How can the marketing team make use of your work?

 

 

 

There are surely many other things I could put in here, but these are the things that guide my work. I think it’s easy to get wrapped up in flashy presentation, which is great in it’s own right, but the real value is giving your clients a good return on their investment, and I think the above list does that.

Music that matters (to me) – Waltham/Damone

There are ongoing themes in my listening habits; at the most fundamental, bands that I tend to revisit occasionally. Sometimes it’s more about the body of work of a specific musican or group of musicians. In this case, I wanted to post about a couple of bands that I keep coming back to, and the common denominator is guitarist Dave Pino.

I think my introduction to Pino was the band Damone, and specifically their album “From the Attic” which saw major label release on RCA in ’03. (a version of it had previously been self released as “This Summer” under the band name “Noelle”) I really wish I could remember how I found this album, but I’m totally drawing a blank. It was around the time that I was the operating station manager for the short lived Purdue Student Radio station which would be the sensible discovery avenue, but I’m pretty sure it wasn’t. I do know that the single “Frustrated Unnoticed” was the first song I heard, and it felt like a different production style than the rest of the record, but regardless, “From the Attic” was, and continues to be a very captivating album for me. The lyrics were all penned by Pino, supposedly as a means to get back a girl who had dumped him.  A band was formed around these songs when Pino encountered Noelle LeBlanc, then still in high school. On this album in particular, Noelle’s inexperienced yet honest vocal delivery is the perfect match for the adolescent-ish tales of lost love. This feature is something that I’ve struggled to explain to people who are used to well polished and professional singers. There’s just something real and personal about it.

Here’s a very early public access in-studio of the band complete with the oddball-ness of Pino rocking a doubleneck SG; apparently the norm for him while in this band:

It must have been around 2006 when I found out about the band, because I remember their second album surfacing. I had been telling people how cool Damone was, and they would go listen to the couple of early release tracks on myspace (sic) and tell me I was stupid because the band was terrible. The band had very much changed. Instead of the 80’s influenced pop-rocking featured on “From the Attic”, the new record, “Out Here All Night” was showing a lot more thrash metal influence, while keeping the power-pop choruses in place. Noelle’s performance was a lot more confident, no doubt built up from years of playing shows. It lost some of the charm though, I think. Another really obvious thing was the absence of Pino from the videos. He’s still credited for the album, but I question what level he was involved.. As I encountered more of his body of work, it seems like this material wasn’t as much “him”. The band released a third album in ’09, but to be honest, I haven’t even listened. I think I’m only in it for the first one. Apparently the band has folded, but Noelle continues with solo work as well as a band called The Organ Beats.

 

At some point I realized that Pino was really the mastermind behind the Damone record that I enjoyed so much, and I started digging to see what he was up to after leaving Damone. There were a few bits and pieces out there. Notably, this youtube video of his process in learning to throw a guitar around his body, a showmanship bit that had some popularity at the time. (I must admit I suffered some injuries attempting the same myself)

There were also a handful of really cool guitar lesson videos he had done, breaking down some of the more difficult parts of Damone songs. Here’s the only one I can find that’s still on youtube:

Perhaps the most relevant thing I found though was Pino’s previous band Waltham, (to those of us not from the east coast, it’s pronounced “Walth Am”) and this great little bio pic that someone made of them:

The whole angle is great. it’s kind of a slightly modernized take on 80’s stuff like Rick Springfield. It’s kind of gimmicky, but still good enough to enjoy. In my excitement about the band, I started telling friends, and oddly, a couple of people I knew were aware of these guys. My buddy John had been living out in Boston and recognized some of the guys in the band from their day jobs at Guitar Center. My friend Karen who had lived in Sommerville told me about the Pizza place that Dave’s father owned.

Showing a bit of a pattern, the band continued but Dave was gone. The 2003 release “Permission to Build” had all the same charming Pino features that Damone’s “From the Attic” did, but the follow up EPs were lack luster. Still the band made a major label run in ’05 with some touring through Germany. After a long hiatus, they put out another collection of songs through band camp in 2013 as “Wicked Waltham” but it seems like they only play new years eve events and the occasional charity show at this point. Still, they left behind some good music and some entertaining, albeit slightly hokey videos like this one:

Pino now seems to be a bit of a hired gun, playing with the band Powerman 5000 and Andrew W. K.

Let’s think about this for a sec – Tiny houses and zoning

Media coverage of developments in tiny homes usually focuses on how pretty you can make your little house, with lots of exterior shots of fancy colored homes. I think this trend has a tendency to keep us from looking at some of the bigger issues regarding small living that are getting glossed over.

If you’ve seen any of the interviews with Jay Shafer, then you know that one of his big issues is the legality of small living. Most folks that go this route put their house on wheels because it then qualifies as an RV, and escapes a lot of the scrutiny that a permanently placed home might. In the following video, the issue of zoning is raised. It’s definitely an interesting topic, and I think that maybe in the long run, it would do us more good to focus on these legalities more than the pretty designs that will continue to be presented to us.

After I started thinking about the topic, I really feel that _some_ regulation is a good thing. If the tiny house trend continues it’s popularity, we could have a large number of these showing up in surprising places, which could lead to problems. The video has one zoning official stating that she’s worried about “squatter camps” showing up, which I think is unlikely.. the reality though is that the definition of a squatter may vary from one person to another. I’m more worried about safety issues like fire hazards or black/grey water dumping.

The current popular thought on this issue seems to be circumventing zoning issues altogether by going with a “trailer park” model of property management, wherein a company owns a lot of private space and allows people to put their houses there for a fee. It’s not a bad idea, but I imagine it too could use a regulatory refresh before this style of living grows.

As an aside, I had no idea that Houston was so zoning free. It’s an interesting model and seems to have met reasonable success. Too bad it’s in Texas. ha!

I like ecclesiastical art

I really enjoy ecclesiastical art; mostly stained glass, but sometimes other mediums.  I’m not religious in the least, but I think the history behind such work really gets at the part of religion that I’m most interested in. Being able to physically trace back the history and morphology of a philosophy is a lot more interesting to me than trying to commune with God.

As I started looking for inspiration for a Saint Burritus T shirt design I’m working on, I happened across the ikonograffiti blog, and really liked it. Having dabbled breifly with spray paint and stencils, on the #trikelala T shirt,  this video was especially interesting.

Bike stuff, Summer 2014 edition – Mountain

I’ve been spending a lot of time on the saddle this summer, and figure it’s about time I should write a bit here. After about 2 months of pretty good road volume, (more on this in a post to follow) I felt like I finally got a good base. At about this time the Indiana Summer heat ran me off the road and into the woods.

Gear stuff
I’m still riding the same bike as shown in my ’12 bike check post with a few changes. The first change was tires. I had been running Specialized Fast Track LK tires front and rear. After my first couple of weeks of riding this year, I started to rethink my whole tire situation. I’ve been running tubeless for a while, but still running pretty high pressure – around 50 psi. (about 10 over what stans recommends for these rims) I figured that since I’m over 200 lbs, and my riding style is a lot more BMX like than most cross country / trail riders, it made sense.. but ultimately it was stupid. I could drag my rear tire through fast corners easily, but I had an upper speed limit in the same turns because my front tire would slide. I’ve since put an S-Works “The Captain” in 2.2″ on the front and dropped pressures to 30psi rear and 25 psi front. The rear is still really high, and I am encountering problems with wet/muddy climbs. I figure it’s about 50% tire and 50% body positioning. Still, everything is working a lot better.

After experiencing some real traction from the front tire, I’ve been able to come into turns hotter and lean through them, which has led me to make some cockpit adjustments. Previously I had no drop. Bars were actually higher than saddle. I grabbed a used RaceLite stem from the shop that is a less aggressive angle, and also went to a flat bar – We had a FSA SL-K at the shop for a relatively inexpensive price so I put it on. (only to later find out that it is a carbon wrapped aluminum bar and not actual carbon) I’m going to gradually lower and ultimately flip the stem.  So far it’s working out, with the exception of the new bars being too wide. I hit too many trees, so I cut them down to 620mm.

I’ve also added a front brake (yep, I used to do rear only) and put my old Specialized Toupe saddle on. The saddle has been pretty great with the exception of the pointy plastic things on the back, and the front brake has been hit or miss. Sometimes I really appreciate it, and other times it makes me wreck. Speaking of wrecks, I’ve gotten pretty awesome at falling. Somehow, I only fall to the right side, so my right knee has taken quite a beating. Apparently I have enough muscle mass at this point to take the hits, because I’m not having any problems past skin abrasions.  

I’m still in gear head mode. Currently waiting on some new grips. I ordered a pair of Ergon GS-2’s and also a pair of their GE1’s. I still have the XO grip shift, and while I love it’s function, the shifter is huge, and is giving me a hassle as far as grip/lever location. I’ve also got some Shimano XTR skewers on the way. It may sound like a stupid thing to spend money on, but I recently noticed that both my road and mountain bikes have been having issues with the (probably DT swiss) skewers that came with my stan’s wheelsets. They just aren’t staying in the dropouts. The popular internet opinion is that Shimano or Campy are the best for skewers if you’re not being a weight weenie, so we’ll see how this goes.

Races
So far I’ve only done two mountain bike races. I raced Intro class at Muscatatuck State Park a few weeks ago and got first, and just raced Clydesdale at Versailles this past weekend and got third. There are two more races in the DINO series, and I hope to hit them both.

I’m definitely not fast by any means, and I’m sure that if I was doing Cat3 I’d be at the very bottom of the pack, but I feel pretty strong compared to my past fitness levels. Weight is still an issue, and climbing sucks, but I can do it. I do better on dry trails because I can stand up and climb as you would on a single speed; wet trails I’m just burning out. My handling has been steadily improving, and I’m having a lot of fun on flowy stuff. I can tell I’ve got a lot more control over the bike as well as the strength to really push it around. There’s room for improvement though. I suck at tight turns. I usually come in too hot, or can’t force the wheel to turn as tight as I need it to go.

A Dip in the River – An interpretation of John Cage’s A Dip in the Lake for Lafayette Indiana

Logo

Over the past semester I did a re-imagining of Cage’s A Dip in the Lake for the Greater Lafayette, Indiana area. It was a pretty interesting process, and despite my love of recordistry, not something that I’d have usually embarked on.

Score for A Dip In the Lake

Background
I think I’ve gotten deep enough into this piece that it’s a little hard for me to describe what it is concisely. The original A Dip in the Lake is a kind of Visual composition for a sound collage. I’ve not been able to find a lot of detail on his composition process, but it looks like Cage just selected random points on a map of the Chicago area. A list of addresses was created from this map. The composition was published in 1978 by Henmar Press, Inc, and copies are available in some libraries. 

Aside from the location list, little direction is provided in the original work beyond the text:

A DIP IN THE LAKE: TEN QUICKSTEPS, SIXTY-ONE WALTZES, AND FIFTY-SIX MARCHES FOR CHICAGO AND VICINITY

for performer(s) or listener(s) or record maker(s)

(Transcriptions may be made for other cities, or places, by assembling through chance operations a list of four hundred and twenty-seven addresses and then, also through chance operations, arranging these in ten groups of two, sixty-one groups of three, and fifty-six groups of four.)

Funny how seeing the above direction describes the work better than my earlier attempt. The lack of specificity is really nice. It opens the work up to be as simple or difficult as you want, and free for all kinds of interpretation. There are so many different ways you could go about this! One that just dawns on me is use of video instead of just audio..

The lack of specificity could also be a burden, depending on how you look at it. I generally like to have specific direction when I’m working on something like this. Having a logic, or an ideal outcome, or even a reason for doing the project in the first place are generally important, and not knowing these things can be crippling. [This is probably the biggest issue in my life right now as I go through a graduate program in Art and Design.. Specifically the areas of Industrial Design and Visual Design. I’m learning _creative_ professions, but in reality I’m just learning to spot and regurgitate trends.] This is where I really got into Cage’s philosophy. It’s almost like decision nihilism. The artist’s choice is totally irrelevant, or rather, the beauty lies in choas, and making decisions undermines that.

My Version
I’m getting too far into the theory. To step back, for my re-imagining and realization of this piece, I fought to use chance where ever possible, and beyond this, I used more technologically determinate methods for doing so than I suspect Cage did. I guess this really makes it easier to be “random”, which I think is a good thing. It also highlights our default use of technology for completing everyday tasks.

MapWithLinesTo start, I chose my locations randomly. I used a website called GeoMidPoint. It was really the first thing I found in a Google Search, but it turned out to suit my needs. It generated 20 GPS locations for me in a radius I specified that mostly encompassed Lafayette and West Lafayette, IN. I only used 20 points (down from Cage’s prescribed 427) to make this complete-able in the given time frame.

My next step was to visit all of these locations to record audio. The quickest means I could think of to get to each GPS position was to enter it into Google Maps. Interestingly, this resolved the locations to street addresses. This was a form much easier for me to use, but it also distorted the data a bit – Google Maps “thinks” in terms of streets, not in terms of locations, and this was evident in it’s translation of the GPS coordinates. For example, one of my GPS locations was in the middle of a corn field. Rather than giving me directions to get to the middle of the corn field, Google Maps gave me directions to the closest road to that point in the corn field, as well as a picture of that spot on the road. It was interesting what we lose in the augmented perception offered by Google Maps. ..You can’t see inside structures either.. or hear sounds from the location.. etc, etc.

I recorded 2 minutes of audio at each location and then proceeded to my next step, which was figuring out how to combine the audio together. Peter Gena, who did the first realization of this piece in 1982 was my primary source of information for the processing of the audio. [1. isn’t it interesting that the composition sat around for 4 years before it was ever performed? 2. In retrospect, I shouldn’t have relied on prior methods in figuring out my own] Gena had the luck of being able to ask Cage himself how the sounds should go together, and it was suggested that he use a similar method to one from another of Cage’s works called Rozart Mix. This involved some interesting (and random) editing of magnetic tape. My recordings started off in the digital realm, so I had to adapt. I initially planned to cut up the audio segments “by hand” in editing software and recombine them according to chance operations, but before long I realized that even with my reduced number of recordings, it would take a really long time. Instead, based on a suggestion of a friend, I used Cycling’74’s MAX software to build a processor that automatically did what I had planned to do manually. It worked wonderfully, and as a side effect, can run infinitely. This immediately made me think it would be something cool to use in a gallery show.

Long winded enough, I suppose. Here is a video for the first of the 4 pieces that came out of this. Photo’s of the 5 locations included in this work are shown – first what Google Maps showed me followed by what I found when I arrived there. There is also video of the MAX patcher at work.

Related links:
More details in the paper for this project
The MAX Patcher I used
Other realizations of A Dip in the Lake: Chicago, Washington DC, Luxembourg Germany, Potenza Italy