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
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
Domače Volt Orkester seeks to re-purpose discarded technologies to create instruments and installations of new wonder. The detritus of domestic electrical goods can be given a new life, a new ‘stage’ on which to ‘perform’ afresh for us humans, or even just for themselves.
It was developed in Interactivos 12´ in Ljudmila
Domače Volt Orkestra does not breathe new life into old radio's, vacuum cleaners and tools. It simply misuses them. It directs there 'use', their capital and commercial productivity to a completely 'useless', and 'un'-valuable purpose. Namely making a live, low-verging-on-no-tech audio-visual experience.
Since we used opto-isolated, magnetic relays (an arguably obsolete technology) Project's operative principle is based on a relay to Arduino system. The process of collaboration was open as possible, to explore their own take on the overall concept. As such we split up into 3 co-operative splinter groups:
1) The Relay-Arduino-Communal-Sequencer
One PC acts as a Server, which accepts commands that modify the sequence, changes the output to the instruments, and broadcasts the changes in the sequence to the other users so that every one has real time updates. Upon startup, each client opens a UDP connection with the server, and uses a special message format to communicate which sequencer button is toggled and when.
The server receives the commands from the clients, and stores the state of the sequencer that it steps through at a given tempo. Each sequence is divided into a certain number of states, corresponding to the period of the sequence (i.e. the time a single pattern is performed before repeating), and a number of channels, corresponding to the number of attached instruments.
Each channel is either a relay (for which each state is either ON or OFF) or a dimmer (for which each state is a value between fully on and fully off). At each state change in a single channel, the server sends a serial message to change the activation of the attached instrument.
The relay boards are electromechanical 240V 50Hz relays controllable though 5V logic. They make a magnificent 'click' every time it opens or closes.
The attached devices are the instruments and in principal, they could be anything that runs off of wall AC power (up to 250V, 10A). For our Interactivos performance, we are using clock radios, blenders, massagers, power drills, incandescent light bulbs, electric shavers, vacuum cleaners, a water pump, a printing calculator, angle grinders, and a paper shredder.
For our Ljudmila-stairwell installation/concert, we installed four 8-channel relay boards and two 8 channel dimmer circuits, for a total of 48 channels. Each one had to be wired individually to a channel on their respective dimmer or relay boards. (NB: though we had the capacity to wire even more devices to up-to 7 relay boards and 2 dimmer circuits for a total of 72 devices, due to total power consumption per board, cable limitations, and a general paranoia from outside agitators we were forced to leave some relay and dimmer channels unoccupied.)
2) The Piezo-Transducerfier-Amplifier-DSP
The amplification is a complementary element of orchestra to boost the resonance from ulterior vibration of motors. For this purpose a set of custom made amplifierspiezo microphones was built so that can be attached to domestic appliances. The signal of these microphones is processed with Pure Data patches to generate a sound environment with long decay drones, and sub harmonics.
We tried a variety of piezo microphones that were prototyped in breadboard until they became an end shape circuit. In this sense it was very useful to work on the schematic of Nano Amp provided by SGMK group.
The realization of the amplifier circuit implied to understand the operative logic of LM386 chip. This 8 pin chip is internally set to 20 to keep external part count low, so It is possible to have addition from external capacitors (220 uF and 10 uF) to amplify the signal received from the piezo microphone.
Therefore it was a learning process to understand the relation between the electronic elements. Likewise the soldering the final circuit requires a patient and carefully work that makes each part connect into their right place. It was noticed which objects were relevant as minimum requirements to amplify the signal, or control as a variable the resistance and capacitor functions.
There is a number of sound modules for DSP (Digital Signal Process) which consist in a granular synthesizer, a phaser envelope, a spectral delay and a loop generator. The input parameters of this sound modules will come from the controls of relay and fading group.
For future development there will be a different approach to control electromagnetic fields that trigger sound devices.
3) The Low-Cost-240v-Dimmer, later to become the N-1-Less-Wire-Dimmer
The aim was to be able to regulate the speed of motorized gear and incandescent lights used in the installation.
After testing the board as was proposed initially, some variations have been made to the original:
-we were using BT138600E for the triac, and the rectifier DF15005S was overridden by W10M.
- we maintained one circuit for zero-crossing detection, and replicated the circuit of the dimmer control to obtain a 8 channels layout.
- the 47K resistors had to be 2W. Otherwise the temperature would get above 130ºC. We were actually using four 100K (2W) resistors in parallel.
A drawing for PCB developing, and schematic, have been made, and are now available as a pdf. Two PCBs have been printed, components soldered, and wiring made into two separate boxes. One of them will be driven by an Arduino UNO board, and the other will be operated remotely through an XBee board. An Arduino sketch has been coded, where the zero-crossing interrupt was detected and each of the triacs trigger programmed. The sketch had to be adapted to 60Hz/50Hz, and to the speed of the processors clock. Indications for these adjustments were found inside the sketch. We have limited the total AC load of the board to 2KW, and of each of the channels to 500W.
With Matthew Gingold (Australia) and Ben Olsen (USA) Iván Arroyo (Spain) and Martina Kalogjera (Croatia).
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.