July 01 Gunsaulus Hall, Kent State Commemoration proposal, Terrain Instrument: Meadow Piano eddy holographic 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

EAST FACEING CONTEXT AND OTHER VIEWS

Headphones provided at Console; potential high speed (fan) winds

 

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.

crystal sensors were attached to strands w/beeswax

Context detail of pre-student DIPLOMA Exhibition

This is the Original documentaion folder as seen on the exhibition table below.

REDICEBERG memory was later broken down by years into three ring binders

of which this an example.Most photographs of LB's works between 1964 & 1972 were by Gloria DeFillips Brush

 

SAIC student Linda Novak / REDICEBERGMEMORY volume middle left return home

 

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

Gloria DeFillips Brush Photograph

SAIC hallway news conference with sculptor Jim Zanzi; looking on from the right are Tim Bresnhan and Bob Ricker's face (notice the morphed reporter's arms/hands; actually it was a sole hand clap which was a sound cue to the Longhall Film Production crew recording onto a Bolex w/16 MM film, behind this scene) Longhall productions included students Seton Coggeshall and George Longfish; their latest movie- The Lone Ranger Rides Again- was in production and as sound man for them, I loaned this Sennheiser mic which was also used in their productions.

Parabola detailed herepicked up gallery voices and retransmitted this sound to hand held FM radios in the hall...wireless mics elsewhere realtime passedaround sound a/or winds influence voiceing poetry_ updates: qq1rstuvwindribbon2xyz return home

 

 

 

Gloria and I would regularly visit Sonia and Jim in their Evanston apartment. LB holds a portrait of Jim, a China scholar at Northwestern University. This large portrait of Sonia was output to one of her many printers.

 

 

conferencing circle of influences

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. '

This Kent State commemorative construction ...audibly would have sounded droned, humming vibration-waves throughout the campus as in very large swarmed cloud of agitated bees. reject letter

 

 

 

holographic sonification, 1972

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The Meadow Piano , a kind of extended and updated Aeolian harp, sits in a large, relatively flat meadow space and is itself 1/16th mile long by 1/8th mile wide. Its horizontal planes (only one is shown in the model), arranged in layers from three feet to three hundred feet above ground, are made up of stainless steel strands of varying diameters; these accomplish an imaging process both audible (by means means of flat response transducers) and visual (through slow scan video) of snow, sleet, hail, rain and mist. The diagonal strands sense soft or gusty surface winds. The bottommost layer or grid gives a readout, again both audible and visually, of the complex thermal variations within the terrain, rising heat eddies, and the earth's ambient magnetism.

1972 MFA multimedia construction

There are touch sounds of raindrops amd snow drops and non touch sounds of concussive thunder and cricket choruses. Insect steps across the strands and the activity of spiders building night webs between strands is available for sensing and recording, as well as the approach of cold or warm fronts. The sudden interrution of light and heat caused by a passing cloud shadow is both seeable and hearable. This is in addition to what the ear might normally garner from the surface cusion sounds of a meadow: the grass whooshings, grasshoppers, redwinged blackbirds, bob-o-links, and snakes in the grass.

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 return home

 

 

 

holographic data imaging mode

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Meadow Piano's

holographic mode (B&W Haloid of 30X40" 1972 stone lithographic/collage print)

Braun Sixtant dirigible above MP's plane.

Linthographic print: with writing and photo etched drawing on a grey stone (edition of 2- proof and master)
Initial playing of the Meadow piano '
EDDY'S image formed by convective variations meandering up from the piano's monitoring planes - following intromission of foreign bodies such as the Braun sixtant or a tight flock of blackbirds' signed Leif Brush 3.28.72' return to earthguest

 

W-Example monitoring site: Terra plane coverage area ranging below and reaching far and wide out from the distant mountain. X-Profiles of sequentially scanned graphs showing a tiered disturbance detail caused by the entry of a foreign body as read by the vertical plane of the thermal, breeze, eddy and dust/pollen particulates monitor. Z-Detail of construction and affiliate site of thermometers and flow meters in 20 inch intervals. Vertical monitoring of transient temperature gradients will cover warm to cold during a sequence. Data is relayed via radar to a mountain top position and uplinked to satellite for computer disc storage and Fourier_transform studies.
Tony Kroll and the "crew" pose for a thermal image.

 

- muxd streams fr/ global's quad projects seek conjoining sound/image whole particulars-

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 1pdf, 2 return home

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