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July 01
Gunsaulus Hall, Kent State University,
Meadow Piano, eddy
imaging, RHIZOME ROUTE:1970s
Terraplane Chorographies 1980s
1970 color Lithograph 30x40"Subsequent projects now and later under this cover also included reel to reel B&W video, natural sound collections via cassette recorder and as a segues beyond MFA days.

Diploma exhibition, Gunsaulus Hall, Art Institute
of Chicago

LEFT VIEW: Prototype of hexagram showing sensor placements on galvanized steel strands, and as wind monitors here, interactive switches available to the participant allow for controlling the "wind" speed from the electric fans. Headphones are available for listening to the amplified sounds produced from the strands.


3-ring binder cover
SAIC student Linda Novak and a detail of LB's Diploma
exhibition, Gunsaulus Hall (top GDP photograph, myriad open pages.
center, above left)

MODE: WINDS PLAYING Participants were challenged to produce winds (from w floor fans, r., center: 0 to X rpm) by pulling tubular switches and required two hands to do so. When successful the wind vibrations from the Hexagram strands could be volume controlled at this console. MODE: BRUSH The two right knobs controlled the volume of a two channel cassette mix of sound sculptures and steel wire strandage fron the school roof. MODE: QUITE Were casstette recordings of a fifty foot cable dragging a Shure M637 mike x feet, stop, record and so on during a midnight recording session. Sequential quiets were cassette-edited as on demand tapes by manipulating console switches. Successfuly pulling upwards and holding obvious positions was a real challenge since both sound and fan speed were related. Position one, say, produced the slowest breeze across the wires together with activation of a particular cassette. The highest detent switch position activated additional natural audio sources. The three mode switches produced different layers of content: earphones sounded crickets and breeze-blown dried corn stalks from rural terrain from rural Elmhurst and very faintly, traffic barely audible from Chicago's northbound outer drive at the Belmont Harbor was among natural and diminished urban sounds available
A parabolic reflector
picked up gallery voices and retransmitted
this sound to hand held FM radios in the hall.
Kent State University 1/2
hexagram commemorative project entry
to mark the site of a death on the campus and the shootings of
students by the Ohio National Guard. '
(Kent State lithograph)



Some of these sensed meadow facets can be isolated, and all sounds can be intermixed; in the master control room, the operator of the Meadow Piano can both tune the individual strands and choose particular sounds, as they occur, and personally organize sound. LB writing in YONY, School of the Art Institute, Sonia Landy Sheridan and Keith Smith, Co-Editors, 1975-76

holographic data imaging mode

Meadow Piano's
holographic mode (B&W Haloid of
30X40" 1972 stone lithographic/collage print)
BraunSixtant
dirigible passing above MP's plane.

- recontextualizing
and transferring global's conjoined inherent sounds/images as
a whole-
The depicted Braun Sixtant dirigible
receives data from a variety of sensors and simultaneously resends
these analog mirrorings- which are varied aural surface layerings,
including the escarpment's face together with an array of terrain
sound and vibrations for multiplex input- and utilizing radar,
satellite andFM-transmitting/receiving channels. Together in tandem
with visual counterparts, these terrain surfaces are observed
by stationary cameras in the dirigible. Imaging this vision uses
heat-imaging sensors together with a fish-eye video lens. Incoming
inputs are mixed together in the dirigible. This fusion merging
of sound and image is intended to provide a perceptually faux
holographic whole. This spatial capture, necessarily, includes
enrichments from nuanced sound playings of earthen features, whose
anomolies may be wind-disturbed, emphasizing aural/visual textures
and expected wide ranging fluxed soundings. Realtime describes
this cahllenge: these aural and visual counterparts from exisiting
inputs are combined (multiplexed) in the Braun Sixtant and are
instantly re-relayed to the ground-to-satellite uplink. This whole
context is simultaneously handed over (uploaded) to Westar IV
satellite and thereafter may be demultiplexed (decoded) and downloaded
into the black set top box for re-construction into multiple speakers
of all the sound and vision details. more
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