Paper Link:
The Aeolian
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.
User Interface
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.
User Interface
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
Sounds From Finland (Exhibition) from Juan Duarte Regino on Vimeo.
Kindly supported by Aalto University, 2014
For more info about the exhibition go to MLab Project Page and Media lab Helsinki page
Satoko Hinomizu
Juan Duarte Regino
Pictures by Satoko Hinomizu