Aeolian Artefacts takes conceptually as a reference an ancient instrument, known as the Aeolian Harp (cf. Kircher, A. ca 1650.), that was used as an object that enables sacred spaces, such as mountains and temples, to "have a voice" according to an automatic mechanism that played with strings and resonators by the aleatoric forces of wind. This artistic practice achieved the concretion of pioneer scientific advances in acoustics, music theory, and instrument invention to register natural phenomena. Recently, sound artists and experimental musicians, including Gordon Monahan and John Grzinich, worked with Aeolian Harps for sound installations to record ambient interactions of wind with string-to-building resonators, to activate spaces sonically, producing uncanny and "supernatural" recordings that blend wind forces and material and spatial qualities into a single sonic material.
Aeolian Artefacts is a piece that brings to the audience an experience of Augmented Listening of the Wind, where subtle changes in an open-air environment drive generative soundscapes. Using wind sensitive systems to detect orientation and speed of the wind, and acoustic events that are registered and processed as a generative sound piece by a network of sensor networks. The experience of augmented listening is interested to perceive the changes in wind and temperature are detected and processed by electro-acoustic devices. The nodes used to perform the installation include transmission and reception devices that operate within an ecosystem of environmental and electromagnetic signals, articulated in an auto-generative way. Different dynamics of the wind are recognized as a phenomenon that encompasses the micro to the macro temporal structure. The resulting sound piece emphasizes the wind as a phenomenon disseminated and reconstructed by means of the electronic process and radio signals: that is manifested as a system of functions, which resembles the cycles of the climate in our planet.
Exhibición 2. Creación en movimiemto. FONCA. Centro Nacional de las Artes. San Luis Potosí, México.
Exhibición 3. Generate!* Festival 2017
FONCA. Jóvenes Creadores (Multimedia) 2016-2017.
Pixelache Heslinki- Piknik Freq Ry
Procedural Image generated with Processing for Equinox Installation.
It is expected that when night comes the generator shuts down and starts again the next morning with the first traces of light.
On the 21st of March 2015 Equinox was opened the Rundum Showcase #9 with a portable synth that reacts to sunlight.
Sample recording from Equinox
The generator is made from a circuit with simple electronic components: no computers are used. Also it can be an interface for public interaction while people shade over the light receptors.
To underline spring equinox, a solar powered sound generator was placed in public space in a park in Kalamaja, Tallinn.
Pictures from the location (Kalamaja):
This installation eventually was developed as a workshop on Light Synths. The first edition was presented in Paide Estonia. The workshop was organised by Pixelache in the framework ofARMT project.
Leija recreates the experience of flying a kite. For that purpose a set of natural forces like wind is being calculated performed to determine a number of possible variables that affect an interaction with physical interface that measures physical control with a computer environment.
As an sound installation Leija aims to design processes to create sound and visuals in relation to the experience of flying the kite and a special feature to sonify interactions through a set of boxes with strings and motors that play during user interaction.
Kairit Solg designed the structure for easy (re)assembling and transportation, details and preparation of technical drawings for production. The use of boxes in Leija wants to explore the interaction within a half acoustic instrument played by a random sequences of percussion with strings.
Moreover, Leija explores ludic interaction along the creation of a generative soundscape, the use of the kite as an instrument to play with sounds from natural sources in Finland.
The output from interaction is more audible when the program registers speed changes crossed with orientation coming from a pair of PS Move controllers. speed or the string receives tension impulse, it is triggered a set of sound grains. In addition there is a set of gestures that enable to trade different sound modules: from granular, to FM and AM, synthesis. Each of these sound modules are modelled according to the events enhanced by the user.
An environment portrays an open air area where user flies a kite: it could be a sea side or the top of a hill. User perspective is from ground level to follow kite motion.
An Perlin Noise algorithm will be used to generate dynamic wind currents in this virtual environment. Likewise a gravity, and solids simulation is applied to create a more realistic experience.
A wide range of subtle to strong motion force, will cause the kite to generate a set of sound particles that becomes more audible when Leija is elevated and moved through this virtual realm. Sound particles become more perceivable as the game evolves.
Control for grains of sound
As a surrounded with different soundscapes from Helsinki, Finland.
A processes known as granular synthesis takes input pre-recorded sound material to process in real time to produce new organic tones of micro sound, to stimulate sensible perception of soundscape recordings.
Exhibition of Sounds from Finland
Kindly supported by Aalto University, 2014
For more info about the exhibition go to MLab Project Page and Media lab Helsinki page
Radio Mines is an interactive installation for the Radio and TV Museum of Lahti. It provides audience an insight in to the matter of using radio waves on the Finnish Continuation War. Finally it aims ensure a both Hands-On and Minds-On experience. The project started as a collaboration between Media Lab Helsinki the Museum of History in Lahti Finland.
The installation is a functional, engaging and immersive setup. At the same time, museum visitors can hear, see and participate with the installation. Also, it seeks to be attractive for visitors of all ages, by compelling a historical topic through new media technologies.
Radio Mines starts with a wartime-like radio voice narrating the story of events, lights fade out and somewhere there is a bomb exploding. At this stage there is nothing to take part in, only watching and listening. When the game like part begins, users are asked to turn the knobs into right frequencies in order to save the city of Viipuri.
When the game part is successfully achieved, Säkkijärven polkka is played on the radios.
Original props, like non exploded radio mines are placed nearby the exhibiton space to bring together a realistic atmosphere to the installation.
Radio Mines aims to fit into a wide audience habituated to play with video games and other type of interactive technologies. Although at the same time the technical setup needed to be very simple to use. Consequently, it was chosen to use vintage radios, to concentrate all the control features on simple gesture of turning knobs to trigger events and control the radio tuning. By turning the three radio's tuning knobs into synchrony the Säkkijärven polkka becomes fine tuned and Vyborg is saved from bomb detonations.
The museum of radio and tv of Lahti provided original and unreleased photographic material from their archives.
The sound atmosphere had to be an integral part of the installation. The soundtrack was designed by Jairo Acosta Lara. It comprised a recording of a Finnish actor to narrate the story of Säkkijarven Polkka. This voice over, worked out well and succeeds in creating an intense atmosphere. It was included english subtitles for foreign visitors.
The program runs in Pure Data extended, and uses several objects provided in the GEM library. This helped to synchonize sound with visual elements displayed in the movie and in the game like part. Additionally, the radio frequencies are displayed as live spectrum of audio signal that becomes fully drawn when is rightly tuned. Finally radio knobs are connected to Arduino to provide start, and tune radios.
The techniques of the installation wanted to be as easy to use as possible by the museum staff and also the museum visitors. The technical equipment wanted to be hidden from the viewers inside wartime props. The tech setup comprises: Arduino Microcontroller + Potentiometers + Portable computer + 6 channel sound card + sound pre amps + speakers. The aim was to use as good a quality technique as possible but due to the project funding some compromises had to be done.
The idea of using old radios instead of an accordion, was very good and seems to work very nicely. It has been seen although that it is not very likely for visitors to automatically see that you are allowed to touch the old radios. this has to be told to them personally in many cases although it is shown in written manner in the introduction scene. Installation is well suited for three persons to be active at the time but a larger group can be watching the installation at the same time. The installation in itself is very easy to use.
The project got funding from the Finnish National Bureau of Antiquities. The Innovative funding was part of three museum's collaboration to use new technologies in telling the museum story. The funding made the project possible, it covered the labor and technical costs and props purchases.
The production was realized with the assistance of the Media Lab Helsinki and the Radio and TV Museum of Lahti.