From 477bd86c8f1be01ec2fb2d1f99f964b78690d135 Mon Sep 17 00:00:00 2001 From: Jules Laplace Date: Tue, 6 Apr 2021 18:14:51 +0200 Subject: stop all sounds --- frontend/site/audio/audio.player.js | 9 +++++++-- frontend/site/projects/museum/views/essay.js | 2 +- 2 files changed, 8 insertions(+), 3 deletions(-) (limited to 'frontend') diff --git a/frontend/site/audio/audio.player.js b/frontend/site/audio/audio.player.js index 17edeee..4f33d9d 100644 --- a/frontend/site/audio/audio.player.js +++ b/frontend/site/audio/audio.player.js @@ -31,9 +31,14 @@ export default class AudioPlayer { } playPage(page) { - const { background_audio_id, restart_audio } = page.settings + const { background_audio_id, restart_audio, stop_all_sounds } = page.settings // console.log('playPage', page) - if ( + if (stop_all_sounds) { + Object.keys(this.players).forEach(id => { + this.players[id].type = "done" + this.players[id].stop(true) + }) + } else if ( this.current_background_id && this.current_background_id !== background_audio_id && this.current_background_id in this.players diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js index 0d3bc3d..0320475 100644 --- a/frontend/site/projects/museum/views/essay.js +++ b/frontend/site/projects/museum/views/essay.js @@ -41,7 +41,7 @@ export default class Essay extends Component { Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.

- Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, Jules LaPlace, before being brought together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. + Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, Jules LaPlace, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts.

Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually grounding planetary networks and other globe-spanning systems will be evident. Call it a web-site-specific project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that The Last Museum’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in The Last Museum is a kind of a vector that intersects with all of the stack’s layers. -- cgit v1.2.3-70-g09d2