BAFFINLANDwind fronts: Icelandic low & Greenland high, Gibbs Fjord to DeDeolen Hall Rotterdam

JULY 01 liithography from 1969:

Haloid (now Xerox ) print

International Listening site

here's the original caption

This comprehensive conceptual whole was based on data input from opposing wind fronts via laser-to-N. American satellite-to-Holland for contextually-spatial processing within DeDeolen Hall, Rotterdam. American sponsor was projected to have been Proctor & Gambel's IVORY soap (floats & nonpolluting). P&Gesponse letter This project was developed as an undergraduate while completing lithographs at the SAIC At this time also, my painting experiences moved from painting-on-canvas to radio controlled processes of paintings merging within the landscape.

grinding limestones using Carborundum Grit prior to erasing the previously etched image and preparing the surface for new drawing

Gloria DeFilipps Brush photograph: LB preparing lower stone for drawing upon later --34 X 36 inches

Sonia Sheridan later related the fate of her lithographic stones: "All of my hugh litho stones and the upsidedown book press to raise and lower the stones to surfaces ended up with Ray Martin (SAIC Printmaking instructor). He told me that he used the litho stones for a path." When I arrived for my first University of Iowa City position I found that its Printmaking instructor M.Lsansky had tossed theirs into the Iowa River just yards from one of the art buildings.

Color lithograph, WORLD WIRED FOR WHAT; cover Leif BRUSH "book" contained mainly prints from

audio recordings and reel-to-reel videos. Titled World Wired for What, 1970 (above). There were several lithographs, including, b&w Haloids elsewhere on this page. The epicentral images are North Pole, Haloid, above and Baffin Island, lithograph directly below, from a conceptual altitude of approximately 1-5k feet:

left, top detail view:return home

The occluded fronts are colored red and green and the isolated flagship (orange) hexagram was the first to ride southerly winds and hovers above Baffin Island- with Baffin Bay on the right. Modulated laser/radiometer, barometric, load-cell, proximity, accelerometer, flow-meter and other sensors provided analogue resources:

From Gibbs Fjord (above to black r image), Baffin Island, Canada, to this Rowley Island modulated laser was routed to a nearby microwave relaying station; from here, the multiplexed (combined) mixture of sounds were converted to 2 channels, bounced via uplink to the N.Atlantic satellite which were downloaded/demuxed (seperated) into discreet analog channels, sounding in DeDeolen Hall, Rotterdam Holland.

 

Haloid - Installation of Three Hexagrams

Reuters newservice scene: "The sounds perceived in the hall were WINDS from Gibbs Fjord, Baffin Island sounding as a cube; SNOW as dots; and from the European REDOT Network, a THUNDERSTORM was heard as a cylinder." The received sound sources were micro-processor configured, amplified and spatially placed via a very broad and spatial canopy of overhead speakers. The sought after- and non-polluting- Ivory soap sponsor, Procter & Gamble refused in a letter while a grad student at SAIC. (A cloud of steam was to ahve been aimed at this central location and was to have shown the product via Kodak projection.)- Leif Brush, MFA Candidate (& SAIC Fellowship entry May 26, 1970)return home

 

 

 

 

 

scroll down to soundwork terrestrischer Umschlag

 

USS Lindenwald (LSD-6) meant that this ship could lower its aft end to let smaller craft float out to sea or enter the hold. Getting into a smaller floating vessel required using a downward angled staircase. On deck for 'berg practice: "1 - 5"/.38 caliber Dual Purpose single barrel mount in open tub (w/director)"Four guns were aboard aft. Final Disposition, sold for scrapping, 25 September 1968, to Union Minerals and Alloys Corp

the remains of DEW LINE: "At most of the sites, many of the building materials and other debris will be buried on site. This will not be allowed at Komakuk Beach. All of the demolition materials must be taken away from the site by barge. Even the landfills along the shoreline must be dug up and physically removed from the site."

The DEW line was reorganized and updated beginning in 1985 and is today called the North American Warning System. more

 

the Leif Brush tent (its generator, TINY TIM, was behind) on Baffin Island 1955...The Angry 9 was two-way radio between this location and the Lindenwald- way down below in the basin.

return home

 

 

REF: tent above terrestrischer Umschlag commemorates this experience exssed by using master analog tapes from all the Terrain Instruments into the final mixdown of this MP4

submitted to Bourges 08 Trivium/Quadrivium Competition, Category 6 & lasfm-who so far has only be able to upload some not all .wavs-including mine- and this one

master terrestrischer Umschlag

On that unique day during the summer of 1955 I was a radio operator. Responsibilities included coordinatiing food, workers and supplies between the USS Lindenwald. It anchored in Foxe Basin Canada. Though sprawed above the arctic circle, I was allocated a very small section of the U.S. Department of Defence/AT&T Dew Line Radar Network installation . My communications tent happened to have been adjacent to a Latitude and Longitudinal geodetic marker. Daily on evenings an assistant stoked the stove and through intense working periods. The tarp-abode also housed the Schlitz beer cache. Settling in as it played out happened over a short summer. I was very anxious to stroll the Baffin Island plateau and enjoyed seeing nearby Greenland's massive blinding summer time whiteness. On glancing below my home ship in the basin appeared to be an inch long. I slung the Army-issued carbine securely over my t shirt and walked northward. Ridges led to a succession of alternating washboard depressions. The wind was clean smelling and wafted the crunchy floor. Spotty orange leichen shared this area heavily strewn with hole-laden and eggshell thin rocks underfoot. Throughout the duration of the trek, low lying areas momentarily obscured the horizon. White foxes and polar bear images immediately sprung to mind. Time for shooting-shells-into-icebergs practice the ship PA system announced. Also, remembering the ships cannon firing several rounds, being witnessed and heard by all aboard the deck- as isolated fields of icebergs countered our upbound direction and headed southward on the North Atlantic ocean. I recall an almost instant perfect carbon ring appeared-(and thinking about the shell casing having been embedded). Miliseconds later a very very low and faint thud reach all the gawker's ears. As well, other thoughts crossed my mind. I walked on with the brightness of the day fading and was now encountering plenty of ups and downs. On a particular riser the Lindenwald appeared to be under 1/8th inch. It was time to watch clouds. They seemed touchable. Dark white, thickly bunched, stacked ad infinitum- and they seemed to drop off Earth. I enjoyed prolonging an ensueing sensation whose feature was ultra quietness. Swoops of wind occasionally activated soundtracks from rough hewn rock-holes. Though animals at this location were never sighted, I liked being perpetually covered with firm-to-bigger goose bumps.
The master mixdown via Pro Tools-le facilitated the recordings of 1959 - 1985 and were from a collection of analog microphone and sensor inputs made from Norelco cassette, Tandberg, Uher and Nagra reel-to-reel DC machines. Though evidence of my intercession is an integral element, all aural soundings were interceptions of natural vibrational phenomena either from an AKG mic pair, Shadow and other sensors. Triaxial sensors were affixed to Terrain Instruments- as in the windribbon, and delivered three signal outputs from this source. These Instruments were conceived in 1969 and they became a collection of listeners of wind-caused vibrations- from trees to the human made Terrain Instrument constructions.

Soundworks from me have always advocated realtime access to terrestrial and extraterrestrial phenomena. Ideally in this instance, I would prefer they be played back- in non-realtime- from this CD and to have its soundings amplified from at least eight widely placed weather proof speakers suspended over a wide terrain from Beech and or Birch canopies. Respectfully submitted, LB

PROGRAM REFERENCES

~1973 interview by Wayne Jarvis, KUNI on Oscar Brand's Voices in the Wind NPR program

>>REGARDING THE terrestrischer Umschlag CD~1973 post script

>>regarding terrain instruments 1975-1985 soundworks
~overview movie
~specific constructions and varied sensors used
~movie- concepts and complete 1979 interview (re: post script above)
RE: main wind monitoring source, Terrain Instrument- windribbon, details
windribbon detail .mov
~recap index of Terraininstruments
>>soundwork on Internet
~interview
~a complete soundwork

 

 

 

In boat off shore- Gloria w/FM transmitte, and das mahler (Leif on shore) w/FM radio and nine feet of cotton duck canvas. He began painting under guidance from Gloria's play-by-play-radio. At early dusk the work was completed. The acrylic-on-canvas, from Gloria's feedback, was to proclaim success when all the areas had become blended perceptually into the surrounding sandscape. Near sunset Leif dragged the limp canvas to the shores edge. Waves "sculpted" the limp and transformed creation.

May, 1970

From a boat in this lake Michigan lagoon I spoke into a recorder and gave my impressions of the colors and imagery covering approximately 1/16th of a mile long beach area. I also made ambient water and on shore recordings. Gloria was the only other person in this area. My challenge was to unfurl 6 yards of cotton duck canvas, lay it on the ground and proceed to paint while listening to the playbacks of both voice and sounds. I hoped this afternoon of painting would be successful when the acrylic work preceptively blended into the landscape. Instead it was at best merely camouflage. I was not satisfied and it evolved into a shaped and soft-sculptured canvas which was really defined by the washing waves.

 

continues

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Those of us who were temporarily "attached" to the navy for the purpose of assisting in Operation 572E BAFOX were all dressed in t shirts and olive drab fatigues. The navy sailor hosts were dressed in blue denim shirts and trousers. Temporary project helpers for this operation were on leave of absence from Georgia and other southern prisons and they were all dressed in 50s street clothes. Our joint mission was to assist with the preliminary work that eventually would result in a completed Dew Line Radar Network. (Missile defense system.)

My official duties were personnel clerk and chief radio radio operator. I was assigned to 5 x 8 foot cabin with a porthole (approx 7 feet above arctic basin water line), one desk, chair, typewriter, my personal Hammarlund short wave receiver and a file cabinet. An additional desk PA intercom station was connected and kept me at the beck and call of our army Captain Lawlor. He was a horse breeder from Connecticut. Georgian Earnest P. Cowles and I became friends. He was assigned to guard my communications tent which had a central coal fired pot belly stove. I was issued a New M1 Carbine and I was instructed by Lawlor to carry it every where I went. The day began on deck with lines leading to the mess hall. Navy personnel ate first and we followed later. I recall 1 food item. With an egg and pancake breakfasts there was thin orange juice, milk and coffee. Pouring what was surely a very special blend of syrup, it actually desintegrated my wheatcake.

 

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