TERRAIN INSTRUMENT TreeswayFranklin Furnace Hudson River Performance

 

Conceptual drawing on photograph((not realized))

Ten swinging pendants ((think multiple pendulums)) attached to a pair of wooden blocks were to be supported by a pair of airplane cables between birch trees. Solar panels on the roof were to supply power to the preamps. A 4X4x8 foot rigid pine block would be planned to rest on feet embedded in concrete. Twenty five stainless steel strands (recorder wire) are placed ridgely on metal braces an three quarters of an inch above the surface; individual DeMarzio sensors would be placed perpendicular and slighty beneath these strands and both elements would be directly beneath all pendant bobs. Shadow sensors are attached near the tops of all bob cables. An aural sonographic objective would eventually lead to multiplexing all inputs to four channels via a video imaging software, and in sound, be Sound Designer v2.5 synced, DSP'd and saved to externa hard drive. A starter experiment would be to use locking receptor mechanisms where feathers, small branches and similar "needle receptors" could be an additional sounding element. Initial interest would zero in on the spotting of unique analog signatures from each bob. Though this construction is expected to have out-of-control movements- were the tree be the sole exciter; however, the desired aurally spatial result from this computer software is anticipated to offer experiential, realtime events. Expectedly, were such a playing- from tremor like and/or more subtle wind-breeze perturbations occuring- they'd traverse and combine these intercepted occurrences through a perpetual global-mirroring- all though as miniscule audible facets from the whole of Earth's "sounding tracks".

all interactive Treesway trio: small top left, right, medium w/signal disc attached; bottom, two 12 foot high pendulums

, Curated By Peter Frank

program pdf pages 1,2,3,4,5 ((artist names, audio titles & timing ))

 

NationalPublicRadio

detail of proposal excerpt Or,pdf & 2007

the Hudson River was visible out the back door

This title, for instance, suggests aspects of what art in technologies have been advocating for some time. My long distance interactive and communicative project was accessable. Further, it grew from this point, later I merged with the computer and with people using computers. My work moves into working with digital sound processing. A Westar IV satellite linked musicians and sound artists for a two hour performance between New York (WNYC) and Duluth (KSJN-StPaul) in July

>

animations combine w/vibrartions in this Hudson River Museum space

performance view from B&W video includes the suspended planes w/audienece able to walk/pause among these 5' speakers; these were outputing the sounds from live musicians, also present, and from the 202 computer mixdown, some of which was on tape and simulateously originating fr/Duluth Minnesota US- in this same Hudson River Museum space

/jpgs/mp4

continues

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Since 2000, my present Internet projects have striven to go beyond the following archived web pages as each of the projects therein have monitored specific voltages from nature. A perpetual realtime streaming process from this flux is sought that includes individualized networked listening sources derived from physical nature. I plan to concentrate on two aural resources. The personal soundspotting for me involves the transfer of my existing sound collection to digital (dating from the 1950s to the present) and to use a selection of these perceptually similar sounds to create streamable works . Secondly, a key aspect regarding my contribution would be to provide sensor-monitorings from wind-stirred trees, my windribbon and the rain monitoring SignalDiscs. Another contributor could be supplying a sensor-derived Australian rock strewn creek and its adjacent tree sounds. From other contributors, they could contribute a related work from an individual node by adding their DSP and digitally merge into these ongoing streams forming an international listening opportunity. Such a cyclic process would have an endless collection of resources which would preclude any need to record this natural resource. A given months sounds could be resumed at the same time in a subsequent year. It is my present interest to re-awaken the natural energy in a world wired for what.

My professional career in sound has explored an intermediary role, sharing through a variety of public performances the potentials of amplified, otherwise unheard, contextual natural phenomena. I have used current technological delivery methods through which this spatial sound can reach a listener anywhere.For more than twenty years, I have used the windribbon sound source, consisting of a half-inch brass ribbon stretched taut by a pair of hefty turnbuckles 250 feet between birch trees. For realtime transmissions of these and other sounds, I have at various times used tape, equalized telephone pairs, two-way satellite channels, or 200 transported speakers and a microprocessor for installations. This sound has combined my Terrain Instrument man made objects in many physical and electronic varieties. They passively have offered wind produced and accelerometer-amplified vibrations from breezes to heavy gusts; snow and single raindrops heard for their individual sound and spectral signatures; Lakes Michigan and Superior audible-range soundings in frozen ice floes , as well as hydrophone-monitored water volumes. The tree and its root systems have presented a challenge. Audibly, most tree's vibrations sound much the same. Deciduous and conifer trees however, can produce subtle and nuanced sonic differences. Overall, the Terrain Instruments along with solar-powered electronic preamps are my preference for sensing and amplifying unheard natural vibrations. I concentrate on those sounds which come directly from natural sources. My ongoing work, particularly with the WindRibbon, will continue to allow me to perfect an imagery component to the sounds, which can compliment those imaginings conjured upon first hearing these familiar, yet unique sounds. My work continues to be participatory in the sense that an ear approach is necessary for the second look at nature. I listen for new potentials from terrestrial sferics, ground-truth (trees, etc) , the earth's sonics continue as focal research (via the Windscube and Meadow Piano concepts) , extraterrestrial spatial audible constructs, and especially from the Mars Microphone.

My work has long since evolved from analog only to analog and digital mergings via a Mac9600/300/Sound Designer II, Audiomedia III, ProTools, Deck, MAX/MSP, and a developing interaction w/IRCAM's Real Time Forum Group.

A long standing interest in MIDI uses may now be melded into a recycling by making the Windribbon available, together with other terrain instuments to an interactive real time networking joined by other participants. It is my present interest to re-awaken the natural energy in a world wired for what. I want to reaffirm the need to reconnect with natural phenomena via a realtime PASSAROUNDSOUND.net.nz pdf.

Leif Brush and the Earth Philharmonic by Dave Helland ON THE MIDWAY Performance Art: Music of the Trees endeavor: I ask you by Leif Brush Environmental Space "I Built It! The Built Environment In American Music Construction: Harry Partch And "His Children By Nicole V. Gagné" "Out To The Stars, Into The Heart: Spatial Movement in Recent and Earlier Music Walkthroughs, Street Events, and Audience Participation By "Blue" Gene Tyranny"
back or to your place

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gloria DeFilipps Brush photography

************

back or to your place