teleSUONOhologram teleSuonoQUAD Treesways Ear to the Ground Teleconstructs
Spacework I

Leif Brush
teleSuonohologram
is an audio and
video recording system prototype concept which can merge and focus
both sources and produce temporal experiences.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 was not technically
"recordable.")
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.
LB selfportrait: 1
inch speakers are covered with vibrateable 1st surface mirrors
which delineate this rectangle which serves duo purposes. The
bundled center four can be removed to accomqdate the lens from
a video camera and the entire rectangle is removed for viewing/playback
from/ in this 19' video monitor opening.
teleSuonohologram in playback position

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 continue this sound' image work)
1987
sketch for a Chicago installation







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 using several
wind instruments. The point 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. At the close I donated all transducers, cabling
and amplifiers to the art students.
faculty
exhibition: Katherine E. Nash Gallery, January 8-31st, 1996 (docos)



listeningsite
& sources


vertical treesway
(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
treesway
treesway v2
details
of treesway v2
treesway v 3
detail
treesway v 3
w/sensor
beneath strands; during high winds LB played w/a magnet sensor
(l. hand) and this amped sound could be hear from overhead speakers.
The mixed sound
was used for a realtime satellite feed to WNYC, NY. (picts,
QT5&video?)

continues