teleSUONOhologram w i n d m i x e d p o e t r y teleSuonoQUAD mindvoicenetwork Treesways

Ear to the Ground Teleconstructs Spacework I

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Individual mono TEAC A-3440 reel-to-reel tracks are UTC syncd/aligned and were input from a master monophonic Nagra 4.2L reel-to-reel 3-speed recorder. Such feedback provided contextual Terrain Instrument recordings via the 4tr machine and these have been the basis for cassette distribution and an eventual overall archival resource.

1984Leif Brush

teleSuonohologram is an audio and video recording system prototype concept which simultaneously merged and focused both sources and produced temporal experiences via the headphones.The video monitor and amplified sound were contained within the focal positions of the parabola. (As ongoing moments in time, the ephemeral mirage fused image/sound ("holovideo") and was not technically "recordable" - as most longterm memories savor such occurrences.)

Marc 03

...head-bobbing and somewhere at the combined focal points an ephemeral, holographic sound&imagery merged as a whole.

(parabolic dish & opposite disc had 200 front surface mirrors)

teleSuonohologram was conceived while an artist-in-residence at the Visual Studies Workshop in Rochester, New York 1984 and constructed there and in Duluth

teleSuonohologram prototype

In recording position, the video camera looked through the back of the parabola

and was aimed at the opposite disk, also covered with 200 mirrors.

top view of dish

LB selfportrait- 1 inch plastic speakers are covered with vibrateable 1st surface mirrors delineating this rectangle which serves duo purposes:. The bundled center four mirrors can be removed to accomqdate the lens from a video camera and the entire rectangle is removed for viewing/playback using its 19' video monitor opening.

`tele``Suonohologram`

Following left to right: the parabolic dish was positioned on a wall so that its focal point would be at the eye level of a seated listener&viewer. The outer ring of the parabola had approx 1 inch of black felt. Its surface was covered w/siliconed first-surface-mirrors and, four mirrors in the center were removable to accept a looking-forward video camera; centrally a reactangle of 1 inch speakers w/front surface mirrors attached to their cones could be removed to accomodate a 19 inch color monitor. The wood occultation (center rectangle ) was faced on both sides w/ front surface mirrors and a chair (during video/computer playback the rectangle would block out the monitor). When standing the occultation disc had a pin hole at its center through which a viewer could elect an optimal forward viewing position during a live or tape playback.

Central to achieving my purpose of conjoined sound and image, a listener/viewer could experiece holographic imaging when electing to either sit or stand between the rectangle and disc so as to block out the video monitor when placed centrally in the mirrored parabola (the precise merging of sound and image phenomena). Or to view the sound/image differently through the pin hole in the occultation disc.

(`I sustain a realtime conceptual holographic imaging process wherein the human voice mixes with wind, RE: key words audible constructs, MINDVOICE NETWORKING, data wind poetry and windribboning.`)

1986-1990
function: Portable recording studio (ear cleaning version: flautist and forest edge ambience)
technique: Five planes of speakers and a cool grass carpet; on playback, synced reel-to-reel 4 track TEAC 3440 and 2 track REVOX PR99 host designated and wired speakers, e.g., outputting into 1 or assorted speaker clusters which are interchangeable at the behest of a person or persons occupying the wall less cube.
Scenario: Six tracks in six months. Six tracks in as many days. Either way, time well spent evolving a spatial metmorphoses. Time, date, day are UTC/GMT synced. Hint: The birds and et cetera really circulate in your otherwise confined but flexible head space. You can't miss hearing the effects of the additive layerings. Walls giving way to realtime.

Freshly unpacked and returning home to this Duluth Minnesota Forest Terrain Instrument site, the portable recording studio (telesuonoquad) was re-configured following a recycling from a Loring Park USA Terraplane Chorographv II performance. All speakers and aluminum tubing were recycled for a totally different challenge: do it all outdoors. Four mics (2-AKG C414 B-ULS; 2-SHURE635) were used for recording. A four track reel-to-reel amped-output utilized each of the "wall planes". Using headphones, re-recordings based on previous tracks would allow for self-accompaniment and second-thought interactions w/nature. The TEAC A-3440 begins its roll w/Eleanor Hovda useing several wind instruments. My point in this construction was to dispence w/acoustic challenges and blend instead with the overhead tree canopies and imposing rustlings with E.H.'s multi-instrumentational soundings.

`LEND ME YOUR EARS:``Sound City Spaces`

Charles de Mestral, Guest curator, Montreal

`St John's, Newfoundland, July - August, 1994`

`Andres BOSSHARD Ros BANDT Pierre MARIETAN Ernie ALTHOFF Andrew CULVER Pierre DOSTIE with Andre PAPPATHOMAS Hubert DUROCHER Marcel DUBUC Steve HEIMBECKER Reinhold MARXHAUSEN Giant Harp and Balinese Bells for St. Patrick's Day Parade Float (The St. Patrick's Society of Montreal and associates) Charles de MESTRAL and Paul MERCIER Ed OSBORN Lief BRUSH Bill and Mary BUCHEN Keith HUI`

`Photographs by Charles de Mestral`

Andres Bossard's "Skyscape: Vertical sound perspective" (1994) is at far left and faces the Haloid of the Terrain Instrument: telesuononquad; Leif Brush's "Terrain Instrument Haloids" cover the remainder of the wall, and audio cassettes are available in front of chair; Ros Bandt's "Dangerous Choices" (1994) boxes with headphones can be seen on the far right riser.

`DETAIL: Andres Bossard's "Skyscape: Vertical sound perspective"`

My Ear to the Ground entry in the Minneapolis annual faculty show was an interactive soundwork which required the listener to place an ear on a particular sounding board anchored to the floor.((A transducer sounded a 12 min-mobius cassette of a terrain instrument mix fr/Duluth Minnesota US)) At the close I donated all employed transducers, cabling and amplifiers to the art students.

`faculty exhibition: Katherine E. Nash Gallery, January 8-31st, 1996 (docos)`

vertical treesway.gif

(Treesways were interactive Terrain Instruments with sensed stainless steel strands which could be played using coiled magnetic sensors,twigs, feathers, ect., and, in the Vertical versions the metal strands were vibrated by winds.(these used telephone poles above w/o the black & toxic soaking)

Hudson River Museum Teleconstructs Spacework I /Westar 5 satellite / Duluth listeningsite

Richard Paske & Nancy Rupenthall

treeswaytreesway v2

details of treesway v2

Leif Brush and Gloria DeFilipps Brush behind v2 Treesway Terrain Instrument; Photographh by Ken Moran

detail treesway v 3

treesway v 3 -

hand held copper coiled DeMarzio sensor - in close proximity to a wire strand - above this Terrain Instrument which was positioned between two Birch trees. Its wind-influenced movements instructed my hand placements on any given wire. (( during high winds LB played this magnet sensor (in l. hand) and this amped sound could be heard from overhead canopy of nearby speakers.