evolved ; & beyond

Commemorative world wide collaboration project on Baffin Island, Canada transportation and ecological issues (in progress ) Graspable Atmospheres Uranus table top winds "New Music at U. O. I"

photographs by Gloria DeFilipps Brush

Clear the Air suspendedable table top Uranus wind monitoring construction: simultaneously displaying/monitoring holographically with its paired sound imaging. Dimensions: 30x40x28 inches, cut logs fr/Birch tree as support structure, plexiglass, copper, aluminum, circuit boards, display and embedded speakers

Back view

1a. circulation fan circulation exhaust fan1b. particulate filter particulate ( though the plane here conceptually represented a side-scanned radar image: the centimeter coverage of a wheatfields existence as an Earth terrain cover) 1c. heavy duty plastic chamber 1d. A/D data inputs 2., 2a. VHF transceiver on board w/mux/demux 3. monitor:aimed for on wall rear projectto (windshield wiper washanle) 4. RGB pixel element cabling 5. Uranus; re, approximate angle and size not to scale) 6. laser reader demodulated/demuxed laser reader 7. micro-controlled wind tunnel 8. servicing circuit boards 9. spectral LED display 10. ribbed copper air-cooling for all circuit board heat sinks & avaialble to input @ # 7 11. AC switch 12. former birch support beams 13. one of four eye bolts to suspend the construction

Front, Chicago's NAME GALLERY 1975 Right view

wind tunnel, servo rotator below Uranus and laser reader circuit boards

L-input air fr/ribbed copper for all circuit board heat sinks

R-LED SPECTRAL DISPLAY: sampled wind data stream(s)




rendered realtime holographically 1972-75

An approximately three year old American elm sapling was removed from our front lawn and allowed to dry before being subjected to a mildly vibrating miniature motor. It was attached to its base with a rubber cushion (for dampening). This specimen appeared to me to be a miniature of its full and mature growth. In effect, I felt that some vibrations would generally be in the analog frequency ranges of a mature tree. I plan on obtaining aural and visual signatures in future projects.

80s update

; later & 2009return home

Splayed "bicycle spoke wires"over a vacant horse pasture below our small barn, 22 gauge galvanized steel strands anchored to a tree radiate out and are tied to wooden fence posts to the right and left of center. (ladder is seen leaning against the tree)


December 2, 1973, Iowa City (Iowa US) Press-Citizen, Page 3A The sound of raindrops (by Leif Brush) in Iowa City, an infra-red photograph of the sun transmitted from Pittsburgh (Willard Van De Bogart) and "sequential drawing" from Chicago (by Sonia Sheridan) produced this "composite joined image." The image was made by transmitting the three sets of soignals, in conference phone call, and picking up a "composite image" on facsimilie machines located in the three cities.


1970s analog facsimilie Telecopier (fax) manufactured by 3M by which the grey scale of an image was read and translated into the audible range of frequencies-- from which imaging was created by a stylusand carbon correspondingly scratching into an off-white coated paper having a carbon base. ((These needles gouged out a continuous grouve, tracking as in LP or 45rpm recordings; however, the disc recording medium is plastic.))


A cassete has played back line-scanned sounds-in audio range- into the Facsimilie Telecopier: band 1 telephone talk, 2 rain drops, 3 telephone dial tone, 4 wind, 5 dial tone, 6 wind at higher volume, 7 sine wave. (In this B&W 8 x 11 inch sonogram a steel stylus actually recorded a series of grooves into the carbon-coated paper.)

Bands over time depicting sound-only from three telephone sources joined in a AT&T landline conference call.)

The recorder playback syncing of these shown Faxes was not possible and resulted in imaging shifts. return home

mixing three analog-shited signals into the facsimilie (typical out-of-sync results; however, LB's hand/wrist shows little distortion)


This focusable parabola, using a scrapped camera tripod, was able to position the dynamic microphone at the precise sounding position. Recording challenges, in daytime and nightime included the skimming slightly ove theplane of crickets, tops of prairie grasses, red clover and wheat and corn stalk tassels.

detail corn field


Coralvillle, Iowa chicken coop (l), barn and garage; painted barn above (6 yards of cotton canvas)

SAIC studio Diploma show displaying an earlier version of the acrylic painting on the front of the barn shown above

I really like how the flat plane of the barn wall became "altered"

(picts fr/Lake Michigan) The barn painting at top continued from earlier directed AM radio-transmitted Lake Michigan on- shore paintings, I've updated the process to include altering human made objects. In Iowa I also used the two-way radio to direct fast drying acrylic paints to alter the appearance of a specific object on/in the landscape. In Coralville I decided to alter the barns physical presence. Descriptive tape recorded comments and reactions spoken by myself prior to painting were played back and used to influence those colors and forms. To be successful, the painting would have to totally transform the barn-visually- and yet be re-fited into the environment and remain a compatible "man made structure."
I departed acrylic painting media and did not get to cover the roof and other walls. From this aborted experience, I could see that I would be somewhat successful- were I to continue- and did not finish. I had more pressing interests.

Our backyard (above), front door threshold and garage w/a vista view of our strawberry patch on far right
Daughter Sanna was born. Gloria's teaching continues at ScatterGood School. Our one acre farm accommodated early Terrain Instrument constructions and challenges in my evolving soundworks were shared with our family. The U o I owa City, Fine Art classes allowed a wee bit of opportunity to advocate sound as an "art form".

snowflake project pdf

Students on both shores sail their canvas from the campus bridge above the Iowa River, and some distance beyond, lands it in a nothward direction. The Art/Art History Building is on this side and the student center is on the opposite bank. At least 5 battery operated FM transmitters worked to sense the available sounds on board the canvas and broadcast them. Selecting from among the 88-108 MHz frequencies determined what was available. A student was free to select by hand-tuning any available frequency.

Multimedia class project: create a painting-like object covered with 3D objects that when resisting wind would create sounds during flight time...FM transmitters aboard relayed these sounds to radios lining both shores

RIVERHARPS scroll down

University of Iowa President

Willard L.('Sandy') Boyd

RIVERHARPS Iowa City Transit Article

Iowa City Press-Citizen article by writer David Stamps (pdf) UOI archive papers

(in progress) a/or program pdf

West looking view of Iowa River with prominent residence hall and for alum visitors

Detail of a Bosch painted detail where, from my imagination, existed as a naturally formed hybrid treehouse. The appended and drooping escape hatch was for exiting quietly. A boat to a favorite stream awaits without. The ladder could be pulled in for restfull dreamtime.


The East to West riverharps parallel and floats beneath this articulated and inflatable barge- modeled after Ivory bars on the Chicago River.

Detailing the structural forms including the ((not in their final forms (below) and part of the proposed construction for the opposing banks of the Iowa City River East (leif BRUSH) and West bank (after Hieronymus Bosch's treehouse w/central ladder in this particular "Earthly Delights panel)). The harps final "skins"-as in the Statue of Liberty statue-would have had bulbous copper sheathing which shrouded the parallel steel supporting beams.


This Terrain Instrument "sound sculpture's"* initial design and concepts were lauded by then University of Iowa President and the some members of departments including computing, physics and engineering. Art unanimously abstained. Though the river flowed closest to the liberal arts school, they hosted only the approved Graduate College feasibility study and other paperwork flows. Students who would have signed up in advance could accompany their instructor and were both assured privacy by using a retractable jute ladder. The then developing Iowa City Center for the Arts staff were to have planned events around an accompanying moored barge (shown above) would have been tied up beneath the RiverHarps and nearby Clapp Auditorium belown (looking N.E.)
* During the conceptual and pre-planning aspects this soundwork segued into my Terrain Instrument series of projects-in-the-landscape and was coincidental with an interest in Salvatore Martirano's Constructions.
return home



including the Johnson County thunders playings / Program /