JUlY 2001

terrestrial Terrain Instruments Leif Brush

if you were so directed, head for the , otherwise, icebergs on beds of clover or continue here, from "Audio Art"& Moniek Darge and/or passaroundsound--

Since 2000, my present Internet projects have striven to go beyond the following archived web pages as each of the projects therein have monitored specific voltages from nature. A perpetual realtime streaming process from this flux is sought that includes individualized networked listening sources derived from physical nature. I plan to concentrate on two aural resources. The personal soundspotting for me involves the transfer of my existing sound collection to digital (dating from the 1950s to the present) and to use a selection of these perceptually similar sounds to create streamable works . Secondly, a key aspect regarding my contribution would be to provide sensor-monitorings from wind-stirred trees, my windribbon and the rain monitoring SignalDiscs. Another contributor could be supplying a sensor-derived Australian rock strewn creek and its adjacent tree sounds. From other contributors, they could contribute a related work from an individual node by adding their DSP and digitally merge into these ongoing streams forming an international listening opportunity. Such a cyclic process would have an endless collection of resources which would preclude any need to record this natural resource. A given months sounds could be resumed at the same time in a subsequent year. It is my present interest to re-awaken the natural energy in a world wired for what. I want to reaffirm the need to reconnect with natural phenomena via a realtime.

(documentation of a Minneapolis hospital's "public area" was not considered since this locale would accomodate seating for many recuperating patients and "the clover would attract bees to the city.")

detail

top view

Emerging underground tree (above triangles), stranded icebergs on a bed of red and yellow clover Mixed media Construction, 1982

My professional career in sound has explored an intermediary role, sharing through a variety of public performances the potentials of amplified, otherwise unheard, contextual natural phenomena. I have used current technological delivery methods through which this spatial sound can reach a listener anywhere.For more than twenty years, I have used the windribbon sound source, consisting of a half-inch brass ribbon stretched taut by a pair of hefty turnbuckles 250 feet between birch trees. For realtime transmissions of these and other sounds, I have at various times used tape, equalized telephone pairs, two-way satellite channels, or 200 transported speakers and a microprocessor for installations. This sound has combined my Terrain Instrument man made objects in many physical and electronic varieties. They passively have offered wind produced and accelerometer-amplified vibrations from breezes to heavy gusts; snow and single raindrops heard for their individual sound and spectral signatures; Lakes Michigan and Superior audible-range soundings in frozen ice floes , as well as hydrophone-monitored water volumes. The tree and its root systems have presented a challenge. Audibly, most tree's vibrations sound much the same. Deciduous and conifer trees however, can produce subtle and nuanced sonic differences. Overall, the Terrain Instruments along with solar-powered electronic preamps are my preference for sensing and amplifying unheard natural vibrations. I concentrate on those sounds which come directly from natural sources. My ongoing work, particularly with the WindRibbon, will continue to allow me to perfect an imagery component to the sounds, which can compliment those imaginings conjured upon first hearing these familiar, yet unique sounds. My work continues to be participatory in the sense that an ear approach is necessary for the second look at nature. I listen for new potentials from terrestrial sferics, ground-truth (trees, etc) , the earth's sonics continue as focal research (via the Windscube and Meadow Piano concepts) , extraterrestrial spatial audible constructs, and especially from the Mars Microphone.

My work has long since evolved from analog only to analog and digital mergings via a Mac9600/300/Sound Designer II, Audiomedia III, ProTools, Deck, MAX/MSP, and a developing interaction w/IRCAM's Real Time Forum Group.

A long standing interest in MIDI uses may now be melded into a recycling by making the Windribbon available, together with other terrain instuments to an interactive real time networking joined by other participants. It is my present interest to re-awaken the natural energy in a world wired for what. I want to reaffirm the need to reconnect with natural phenomena via a realtime PASSAROUNDSOUND.net.

Leif Brush and the Earth Philharmonic by Dave Helland ON THE MIDWAY Performance Art: Music of the Trees endeavor: I ask you by Leif Brush Environmental Space "I Built It! The Built Environment In American Music Construction: Harry Partch And "His Children By Nicole V. Gagné" "Out To The Stars, Into The Heart: Spatial Movement in Recent and Earlier Music Walkthroughs, Street Events, and Audience Participation By "Blue" Gene Tyranny"

What follows are the evolving archives (1964-present) compiled on these pages and on the CD ROM produced and distributed by the International Nippon Telegraph and Telephone Company, Tokyo. Dec '96 Sept '98 Dec 99 July 2000, March 2001

archiv pages continueor