noresolution

In Conclusion

2007-04-26T23:23:00.000-05:00

As our year draws to a close, we are required to gather together the best parts of our work to form a final portfolio for grading and exhibition purposes. Because my work deals with sound and resonance I decided to build a container for my portfolio that could also play audio samples of my work to hopefully impart a better understanding of my project.

As I reflect on the last year, I can't help thinking about the future... I'd like to make more of these resonators and other devices that could possibly interact with each other in a space. I think it would be a compelling installation as well as an interesting investigation into two of my ongoing obsessions - feedback and resonance - but maybe with an interactive layer as well. What ever I end up making, I will be sure to continue documenting my work with this blog.

Resonance Inductors

2007-04-23T05:05:00.000-05:00

Watch this video to see and hear the resonance inductors in action.

Proof of Concept

2007-04-23T03:33:00.000-05:00

As a proof of concept model, these resonators are not only demonstrative of acoustic resonance in tube environments, they also incorporate previous streams of my research from the first term such as feedback and sound transference.

A small dc motor - nearly silent when running alone - is embedded into the inner surface of the steel drum. The rotation cycle of the motor is affected by a small offset weight attached to its axis causing it to oscillate. The vibrations caused by this oscillation are transferred to the steel causing the entire drum to vibrate. Sound waves in the acoustic space begin to build at the drum’s resonant frequency and its various modes. The result is an exponential amplification of the motor’s oscillation into audible sound of a substantial volume. In the same tank, a microphone picks up the vibrations and sends them to an FM transmitter. The sound is then picked up by an FM receiver contained in the second tank. This signal is amplified and output through a speaker embedded into the interior surface of the second drum. These devices transfer the sound produced in the first drum into the second drum causing it to vibrate at the same frequency.

As both resonators operate at the same frequency, their minute imperfections and differences come into play. Since the drums are not resonating at the exact same frequency because they are not perfectly identical, their sounds overlap, superimposing both resonant signatures to create overtones. These sounds are interpreted as a composite resonance, causing a third “ghost” acoustic space that does not actually exist in the material world, but can be heard nonetheless.

Motive Power

2007-04-10T21:24:00.000-05:00

Here are sketches of some machines I could possibly use to move the tanks around the site and perform other heavy tasks. As always, clicking on the image will bring up a larger version.

The above drawing is a simple hand winch. The human force exerted in turning the crank is essentially amplified by a system of gears turning a drum that winds up a line with a load on it. These winches were commonly used by fishermen and other seafaring folk to pull their craft ashore.

This is an exploded view of a simplified Stirling engine made out of scrap metal. This engine can be made quite easily out of scavenged materials and uses little to no fuel. The engine runs on pressure differentials caused by vacuum chambers of alternating hot and cold air that drive a piston. The linear motion produced by the piston can then be used to drive a flywheel and any number of light duty machines. Since the difference in temperature necessary to run the engine is a very small ratio, it can run on solar radiation, geothermal heat, body heat and even small amounts of ice.

This winch runs on steam power. I find steam engines fascinating not only because of their history but there are many beautifully designed engines out there. Steam engines seem to occupy a period of history in which the craft of a machine was as important as its technology. Anyway, this engine may be a bit large for the winch it powers but perhaps one could hook up a variety of mechanical devices to its driveshaft to perform many tasks at once. Maybe the winch could be a part of a larger crane assembly that could actually lift the tanks off the ground so they could be stacked on top of one another.

Finally, this design is the most far-fetched but would also prove to be a most versatile tool for the site. The steam engine powers a tank-like vehicle with a substantial frame on the front to push the tanks around the site. I don't think I will pursue this idea but it was fun to draw.

Sketchy Ideas

2007-04-07T01:18:00.000-05:00

Lately I have been concentrating on the architectural side of the project. I've put the oil drums on the backburner for now so I can start negotiating the tanks on site. I've sketched out a few preliminary ideas: a simple wood structure could be used to prop up the tanks, elevate them and position them vertically. This wood could be scavenged from the site and nearby.

I looked at the tank as a modular unit - since they are all of similar dimensions I could perhaps build a series of connectors that anchor the tanks and allow them to be stacked and elevated. This system would allow an ongoing reconfiguration of the units to suit the users' needs in their acoustic experimentation. I began looking at the work of Cedric Price as inspiration for this new direction. One of his most famous theoretical works, Fun Palace, was an ever-evolving user-defined environment consisting of movable units within a modular framework. Some of his less developed work involved machinery to move units around the site. I then had the idea to incorporate a crane into the site that could move about and displace the tanks by employing a large electromagnet, like those used in scrap metal lots.

While this idea seems like a clean, effective solution to organize a collection of modular units, what if the units are not truly modular? Although the tanks are all similar in form, they are all unique characters that contribute their own individuality to the site. The tanks have many different components inside them, and each one exists in a unique state of decay. Rust, graffiti, erosion, modification all add to the persona of each individual. Therefore, although transportable, they are not interchangeable and must be acknowledged as such. Surely each one possesses its own unique acoustic properties and it would be a shame to overlook them.

Additionally, I have reconsidered the crane in favor of a more diy solution to move the tanks. Since there is a lot of abandoned machinery lying around the site, it could be reclaimed to build new machines for moving the tanks. Thus, I have been researching victorian machinery, steam engines, stirling engines and various mechanical automata. This pursuit, if fruitful, will make a nice connection back to the beginning of the project and the Artobolevski machines I started with in September.

[sketches forthcoming]

Steel Drumming

2007-03-26T11:05:00.000-05:00

This video shows an attempt to realize the many sounds that can possibly be generated by the material of the drum itself. By touching the drum and playing it as a percussion instrument with my hands I am developing a sonic/haptic relationship with the object. I found that the drum has one obvious resonant frequency with many overtones that can be heard depending on how it is played.

My next step involves the development of a series of devices to integrate into the drums. The devices are extensions of my previous work applied to the barrels. Simultaneously, I am developing a hypothetical structural system to support the tanks on the site. This structure will also be expressed at the scale of the drums. The final result will be an interactive proof of concept that will exist in a space alongside representational and technical drawings of the project on site.

Tube Acoustics

2007-03-26T09:46:00.001-05:00

I've been drawing the steel drums I acquired in an attempt to assess their acoustic potential. I've also been reading about the acoustic properties of tubes. Pretty dry stuff, but it explains some of the phenomena I experienced in the tank at the Point Douglas site. For example, I now understand why the tank seems to be more resonant in some places than in others. It has to do with pressure differences in the longitudinal waves created in the column of air inside the tube. In a closed-open tube, the lowest pressure occurs at the open end. I have some wave diagrams of both the tank and the drum. Since the tank's proportions are of a 1:2 ratio and the drum's are 1:1.5 they have slightly different resonant properties. However their acoustics are essentially the same because they are both open-closed tubes.

Sweet Cans

2007-03-18T17:32:00.000-05:00

I acquired these excellent steel oil drums from Western Scrap Metal in Point Douglas. These 45 gallon barrels will be my new substrate(s). Since their materiality and proportion is very similar to my original substrate they will function perfectly as a scaled-down version of the large tank. I highly recommend Western Scrap to anyone looking for similar materials. They were very friendly and helpful and are apparently quite fond of artists.

PhotoMoto Schematic

2007-03-05T10:38:00.000-06:00

This is the schematic diagram of the circuit I used for the dc motor array controlled by photoresistors.

PhotoMoto

2007-02-22T23:34:00.000-06:00

This configuration incorporates multiple motors operating under separate parameters. Photocells are used as sensors controlling the speed of individual motors. The photocells are hooked up to the analog input pins with a resistor to the ground. In full light, the motors are idle, as the light is obscured the motors begin to increase in speed. Although I had previously been using digital outputs for the motors, I decided to try the analog outputs from pins 9, 10, and 11 since they seem to make the motors run more smoothly. It took some tweaking, but now the motors are running nicely and the controllers have a good level of sensitivity. Watch the video below to see the array in action...

Arduino + DC Motor

2007-02-14T21:57:00.000-06:00

I followed the tutorial on controlling high current loads with transistors using Arduino and a DC motor with an offset weight. I was running the Arduino and the motor off a 5v power supply. A 10 Kohm potentiometer controls the motor speed. I taped the motor to an empty can to amplify the sound for the video, as the current increases, so does the motor speed and the frequency of the sound produced.

Although this setup worked well, I have a few issues to sort out before implementing this device in the site: First, as long as the device is this simple, Arduino is unnecessary since I can just control the motor speed with variable resistance. If I'm going to use Arduino, it will be as an interface between the motors and a program that manipulates input from sensors. Second, I need to figure out how to run a system of motors independently of each other as autonomous units within the tank.

TankMusik

2007-02-11T22:20:00.000-06:00

Here is a short visit to my site. The pipe in the tank moves so easily that it only takes a gentle push to start its motion. Once it starts moving, it continues for several minutes on its own. Note - I recommend using headphones when listening to the video to get a better idea of the acoustics in the tank, however, even though it starts quietly, it will get much louder so prepare yourself...

Studio Research Chart

2007-02-09T18:42:00.000-06:00

Here is an updated version of my previous research chart. My interests continue to overlap and connect in interesting ways.

Introducing Arduino

2007-02-09T18:05:00.000-06:00

I recently began experimenting with my new Arduino board. Using some basic programs borrowed from examples, I was successful in making a small dc motor run with a potentiometer controlling the speed. I added one line of code to increase the value of the pot input. The pot was connected to the analog input while the motor ran on the digital side. Although the motor turned, when slowed with the pot its intermittent rotation was made apparent. The motor requires a transistor to function properly so that will be the next step. After that, I will try using various sensors to actuate several motors and/or control their speed.

Speaking of motors, I realized that CD-ROM drives are a great source for small, low voltage DC motors. I found one in the trash a few months ago and just recently had a look inside. To my delight, I found five motors suitable for small devices, BEAM bots, et cetera.

Sounds Like Noise

2007-02-06T18:47:00.000-06:00

I made an audio recording inside the tank to better understand its acoustic properties. The reverberation is incredible and changes greatly on the location of the listener. At the very back, the resonance of the space is most perceptible. Standing further toward the opening, the reflection off the closed end is more noticeable than the overall reverberation. When positioned just outside the tank, the reflection is even more pronounced while the reverberation is barely perceptible.

The pipe at the back of the tank is loud when hit and oscillates freely since it is not fastened to the material anywhere other than its points of entry on the wall of the tank. Not only does the pipe itself produce a good sound, but it knocks against the back wall causing quite a racket. I will have to decide how much control I want over its movement when induced by the mechanical oscillators.

I also began looking at Pure Data in an effort to find a way to record, delay and modulate sound. I used an example patch to get started and soon I had a slightly modified version that delays the signal output and modulates time and frequency to produce some interesting results. If possible, I want these Pd parameters to be controlled by photoresistors in the tank reacting to changes in light.

Ultimately, I would like to combine both of these sound opportunities into a dynamic electroacoustic composition that would (hopefully) sound something like Masami Akita's "Music for Bondage".

Tesla Persists

2007-02-05T15:49:00.000-06:00

On the theoretical side, my project is progressing quickly. Today, Ted Kreuger from RPI Architecture in New York came to the studio to discuss our work from last term and our plans for this term. We spoke mostly about resonance, an idea that has been at the heart of my work this year. In addition to acoustic resonance, I realized that I could further integrate mechanical resonance into my design. There is a long pipe bent back and forth at the back end of the tank (which I assume was actually the bottom in its original vertical positioning). This pipe offers an extremely active vibratory member that could be effectively exploited in producing sympathetic resonant vibrations in the tank.

I remembered Tesla's "earthquake machine" from last term's research and I think I can achieve a similar effect by attaching offset-weighted DC motors to the pipe to induce oscillation. Ted mentioned the installation work of Mark Bain - most notably The Live Room which he describes as "transducing resonant architecture". Bain has used the same technique to oscillate building structures, producing infrasonic vibrations that are predominantly felt rather than heard.

I believe I can produce a synthesis of both infrasonic material vibration induced by mechanical oscillators, and audible acoustic vibration through signal processing and audio output. I realize I may be biting off more than I can chew and time constraints may require me to simplify my system, but for now it is an intoxicating prospect.

Plans & Sketches

2007-02-01T20:18:00.000-06:00

Last term I built an architectural feedback machine that picked up vibrations in the structural material of a building, looped the signal and created tones and rhythms. I achieved my intent to reinterpret a space with sound, and to translate the experience of that space into a performance. This term, I will continue my exploration of sound and space by designing an immersive, interactive sonic environment.

As previously mentioned my site is located in Point Douglas and the material substrate for my installation is a large metal cylinder. With the piezo technology I used last term, I will pick up various environmental sounds and output them through the material of the cylinder. Whereas last term I used a tape recorder, signal processing will now be handled digitally with Pure Data. In order to add another layer of sensitivity and interactivity, light sensors will function as midi controllers to modulate the delay processing.

The total system will consist of several arrays of each unit integrated into the surface of the cylinder. The circuits may end up becoming ornamental as well, taking on the appearance of graffiti to further embed them within their context.

Here are a few rough sketches to illustrate my thoughts...

Installation Site

2007-01-24T19:47:00.000-06:00

The site I have chosen for the coming installation is a field full of snow and industrial waste in Point Douglas. The area is bordered by Higgins Avenue to the west, railway tracks to the south and the river to the north and east. The site is very isolated and to get there from Higgins requires walking through 1' deep snow for a few minutes.

My chosen substrate is a highly oxidized steel tank lying horizontally on the ground. It measures approximately 12' in diameter by 20' in length and can be entered from one end which is open.

Point Douglas

2007-01-21T22:08:00.000-06:00

As the second term begins, our mission objectives are becoming more explicit. We have been assigned a site for the continuing project: Point Douglas - a mostly forgotten corner of downtown Winnipeg that is home to low income housing, junkyards, boarded-up factories, discount warehouses and, most importantly, unlimited potential.

I became fascinated with Point Douglas in my first year of ED when I completed a photo-narrative essay of a walk through the area. Today I revisited a section of the area to photograph it as a prospective site for my next installation.

Briefly stated, the installation will be an extrapolation of the previous staircase feedback loop machine. I want to comment on the fact that, although Point Douglas is in the middle of Winnipeg, it is essentially isolated and removed from the rest of the city. The mere existence of a project of this nature in such an area is ironic, but that is not my sole intent.

As a further exploration of my interests in electroacoustics and sound art, I want to use the various discarded industrial materials as substrates for sound transmission. The installation will reinterpret environmental sound by transferring, delaying and modulating it through various filters. If time allows, i will attempt to introduce an element of interactivity by creating tactile circuits with conductive paints. This would be a multimedia version of graffiti that incorporates sound into its visual presence.

You can view selected photographs on my flickr page.

Updates

2007-01-19T00:03:00.000-06:00

I have uploaded a short video of our Montreal studio in an earlier post. As I begin to fill in previous posts with additional information, look for updates in the sidebar. For now, check out the video.

Staircase Test

2006-12-18T01:58:00.000-06:00

I performed a test of my feedback machine on a flight of stairs and it was a success. I used three pickups and three speakers which I attached to the stairs with magnets. I had one tape machine running, one preamp and one amplifier. When the stairs were used, the pickups recieved the vibrations and started the feedback loop. When the stairs were idle, the loop continued as an ambient drone that was strangely hypnotic. In order to add some complexity, I’d like to use a second system on an adjacent flight of stairs and add a controller to modulate tape speed.

Material Feedback Device

2006-12-05T21:18:00.000-06:00

I have found a feasible strategy for weaving together the various threads of my studio research. The basis of my term project is to interpret architecture through sound. Along the way, I have become interested in hacking electronics, musique concrete, Nikola Tesla, resonance, noise and feedback. My project will allow users to interact with the incidental noise of a building through material resonance and feedback loops. An interface will allow users to interact with this phenomenon by tuning various parameters, creating semi-aleatoric architectural music.

I recently built a working prototype of the device that will make this possible. Soon a more in depth exposition of this machine will be presented, but for now I offer this brief explanation:

A piezo element attached to building material picks up minute vibrations and sends them as an audio signal to an amplifier. The signal is sent to a tape head that records the noise onto a cassette. A second tape head mounted directly beside the first plays back the noise into a second amplifier. The signal is then output through a speaker mounted on the original material. This induces further vibration of the material which cycles back into the piezo. The modified tape recorder introduces a delay of the signal which results in a rhythmic pulse. The interface allows users to control the volume of the output as well as the tape speed which affects the rhythmic interval and pitch of the noise.

The location of this installation and the number of input/output devices will be determined based on further study of the building. The video above shows preliminary tests of the device on a table.

An Inspiring Precedent

2006-11-27T12:50:00.000-06:00

Jodi Rose is a nomadic artist who uses contact microphones to capture the vibrations of bridge structures. She amplifies the sound on site at her installations, broadcasts on the web and records the sound produced by the structures.

A professor told me about her work today, and I immediately realized that she has done exactly what I had intended to do with building structures - namely, capture and amplify micronoise. Thus far, I have succeeded in capturing mechanical noise in the building, but not structural noise. This is a difficult task compared to listening to a bridge since the building's superstructure is essentially inaccessible buried underneath layers of material, and a building's movement is much less pronounced than that of a bridge.

However, seeing this work makes me want to go deeper, maybe I can reach a part of the structure that offers some kind of significant vibration, or perhaps I need greater amplification to go beyond what sounds my devices have already revealed. Needless to say, I want to take this concept further. I feel like I've only begun to scratch the surface of the hidden noise in the building.

Tape Loops

2006-11-27T00:16:00.000-06:00

Today I made my first tape loop. It was probably much more difficult to do than those made by the likes of Pierre Schaeffer, since I used a cassette. The typical Musique Concrete method makes use of a reel-to-reel tape recorder, facilitating loop making with its open casing and tape reels unencumbered by the plastic enclosures of the modern tape machines. The loop model I used is known as the Chandler Loop and has a cycle time of approximately seven seconds. I had to glue a piece of rubber to one of the reels in order to provide enough grip to move the tape through, then I had to adjust the slack on the loop because it was too tight. After some precision tuning, the looped cassette worked. Above are a photo and diagram of the cassette. To view a video of my first test, click here.

Feedback

2006-11-26T01:34:00.000-06:00

My experiments so far have led me to investigate feedback loops. The archiphone (see previous post) creates audio feedback when both transducers are placed on the same material at a reasonable distance from each other. This phenomenon is rather basic: the vibrations in the material are picked up by one transducer, amplified, output by the second transducer and back into the material, causing it to vibrate more. The distance between transducers and the pressure placed on them can affect the frequency of the feedback. This technique can be used to invoke the resonant frequency of a material so it functions as a musical instrument.

It has recently occured to me that my research itself has become a feedback loop. As I explore my theories and interests, I am led through a path of information that not only gives new meaning to my ideas, but sparks new ones and fuels my research process. No sooner do I pursue these newly revealed avenues that their precursors are reiterated and my understanding of them is enhanced. Thus, my research comes around full circle and as each cycle completes, yet more possible directions are revealed while previous ones are confirmed, amplifying the process and reinforcing my study's trajectory. Ironically, my research has become an example of its own topic - namely, feedback.

Although the feedback I've experienced so far has been amusing, I feel that it requires some refining. Instead of the typical squeals, I can recycle ambient noise back through the environment where it was produced. By introducing this delay, the space would transform into a theatre of memory, as the sounds created by inhabitents are disconnected from their sources and reintroduced to the space later. I'd like to add the element of movement as well. Multiple pickups could correspond to similarly spaced speakers that reproduce the sound as it moves through space. I am still considering the stairwell as an appropriate site, however I still have to deal with "The Wall" in some way. Perhaps a sound listening/modification station?

Sound Collecting + Mapping

2006-11-21T02:54:00.000-06:00

Introducing: The Archiphone - My architectural listening device. Transducers in contact with the building material function as microphones to collect sound and speakers to output sound.

My micronoise mapping has produced some interesting results. I decided to record the more interesting sounds and create an interactive sonic diagram of the building. Click here to try it. It may take up to sixty seconds to load and you will need to download Flash Player to use it, if it is not already installed on your computer. Enjoy.

Looking Back / Moving On

2006-11-17T13:38:00.000-06:00

These are a few recent sketches I've done in an attempt to give some kind of form to my ideas. Essentially, I want to capture and augment the "microsounds" that occur constantly in the building but are generally overlooked or are too quiet to be heard.

I will use piezo transducers to pick up these minute vibrations and transmit them to a centralized listening/control station. I want to design a user interface at this location that will allow one to interact with these architectural aural phenomena through tactile input. I am proposing the use of surface-mounted piezo transducers over a resonant chamber to output each sound while simultaneously behaving as pressure-sensitive controls. In order to provide a visual cue for the user in reference to which transducer is producing sound at a given moment, each controller/transducer will have a corresponding input-signal-activated LED.

The most recent formal iteration of this apparatus can be seen in the bottom-right corner of the image. The piezo transducers are mounted to cup-like protrusions which, in turn are circumferentially mounted to a parabolic dish which concentrates and reflects the sound through perforations in the centre. Each "cup" also contains an LED to indicate the presence of a signal.

The next steps in my process will be material and assembly explorations, the development of appropriate electronic circuits, and a more refined design including hardline drawings and a working prorotype.

Visions and ReVisions

2006-11-13T00:43:00.000-06:00

Upon retracing my steps, I discovered that perhaps I have gotten ahead of myself. I think I would benefit from going back a few steps to revisit my earlier explorations. This is not a total retraction of my previous proposal, but more of a modification.

Although the Automatons are an interpretation of the 'environment as instrument' concept that was explored in Montreal, they lack an acceptable level of material continuity. In other words, I began with a few specific lines of investigation: Input/output, amplification of microsounds and circuitbending, and the Automatons have little to do with these things. I now propose to begin by listening, mapping, inducing and augmenting architectural microsounds - a more subtle, sensitive approach to my project.

In addition to familiarizing myself with the aforementioned topics, I have since been contemplating further extrapolations of them. The piezo transducer is an important element in my project for collecting microsounds as well as announcing them. After doing some research (that will be posted soon) I discovered that a piezo transducer is so-called because of the eponymous crystals contained therein. These crystals produce a small electric charge when vibrated and vice-versa. Their beauty in their simplicity, as does their versatility. Since the piezo transducer is just a thin layer of crystals between two conductive surfaces, the area of those surfaces is infinitely variable and the potential of such is exciting: Imagine a building material that can talk and listen to its surroundings or to its users. With this experimentation in mind, I produced some piezoelectric crystals with which to build various prototypes of architectural transducers. if they work, these would prove very useful in my 'listening' project.

My forays into the world of circuitbending have been fruitful so far. Being unsure whether it was a natural aptitude or simply beginner's luck, I have decided to continue this exploration with a bit of a twist. My microsounds will likely require a sort of 'listening station' in which a user will be able to manipulate incoming signals. What if these signals were controlled by human contact with a haptic interface? This would provide the user with an immersive, synaesthetic experience of aural/tactile interactivity.

My first step in undertaking this project is to create a personal architectural listening device with which I will delve into the world of microsounds. I will make a sonic map of the building to inform the strategic placement of the listening devices.

The following step will be to design, build and implement said listening devices, reconcile power and transmission issues, and put together an interactive user interface for "the wall" by the end of term.

A Modest Proposal

2006-11-08T23:23:00.000-06:00

May I present my preliminary proposal for the next phase of the project. It will involve automated devices that will vibrate architectural materials to effectively "play" the structure as a musical instrument. Although my research on Nikola Tesla was illuminating, I feel I should explore some more relevant avenues in my continuing research. I will be investigating Musique Concrete and such progenitors as Pierre Schaeffer, Karlheinz Stockhausen and Edgard Varese. I have recently been introduced to the work of Maxime de la Rochefoucauld whose Automates Ki have been an inspiration and a sort of starting point for my project. I'd like to learn from some of the technology in his machine designs and apply it to my own.

Man of Light: Nikola Tesla

2006-11-07T23:41:00.000-06:00

After much research, I have compiled some pertinent and interesting information on Nikola Tesla. Briefly stated, he was a Serbian scientist and inventor who essentially made possible almost all of the technology of the twentieth century. You can view the following pages at their full size by clicking on them or you can download them in .pdf format by clicking here.

MTL Photo Gallery

2006-10-31T17:30:00.000-06:00

Some of my Montreal photos are now up on my Flickr page. These ones were scanned from a contact print of my negatives so they look kind of weird and old-timey. I like effect, but I'm hoping to make some high(er) quality prints soon.

PneuHack Jam : Thoughts

2006-10-26T13:04:00.000-05:00

(Photograph by Kai Chang)

After 5624 miles of driving, 36 hours of (almost) non-stop work, several cups of coffee and the occasional croissant, we have triumphantly returned from Montreal with the bittersweet taste of a salient experience lingering in our collective mouth. Our collaboration with RPI was a weird but successful venture and I think we all learned something about pneumatic structures, electronics and slapdash design/build circumstances. My group's project ended up being more or less what we had intended - a multi-sensory pneumatic environment. However, we couldn't quite pull off the feedback loop. We ended up circuit-bending some dollar store personal alarms by adding a photocell to vary the frequency of the oscillator. The photocells were controlled by flashing LED sticks (also from the dollar store) the rhythms of which were changed by environmental switches. These switches were actually contacts taken out of computer keyboards and attached to the pneumatic membrane. As people interacted with the structure by entering, exiting or moving it, the switches were activated, and the lights and sounds changed accordingly. The sounds produced by the oscillators were layered rhythmic pulses and sweeps. There were three oscillators in total, each capable of full on, full off, and intermittent signal generation. When the rhythms overlapped, they created new polyrhythmic "compositions" that were abrasive to some, dancable to others.

** Update Jan 18, 2007**

I recently put this video together. Thanks to Ted Krueger for filming our project.

Pickups

2006-10-05T22:36:00.000-05:00

These drawings describe the first couple of devices I will be building and testing this weekend. They are both variations of sound input and transmission devices. I am interested in capturing the tangible energy of a built environment as expressed through its vibration. The resulting signals can be used in many ways: The minute voice of a structure can be aurally exposed through amplification. Movements can trigger further motion. Signal transformations can take on the form of light that in turn can effect subsequent actuation. The irregularity of these organic signals makes them ideal automatic indeterminacy controllers for other functions. Of course, the end function of a signal will likely generate more vibration through its own action, and the entire space could likely behave as an indefinite feedback loop.

New Noise

2006-10-03T17:19:00.000-05:00

Here's a taste of my recent experiments with circuit bending. This is the Wal-Mart kidtar at its best (worst?). I know people have said this before, but at times the toy really seems to be screaming in pain.

[download/listen to the MP3]

In case anyone is interested, you can listen to a few of my earlier sound experiments here. These tracks are much more minimal. I created the sounds using only oscillators with basic waveforms set at various frequencies. In this sense, the compositions are mostly automatic with only the stop and start times being controlled live. I'd be interested to hear what people think of these tracks so please comment if you wish.

A Diversion

2006-10-03T11:37:00.000-05:00

So I was admiring the work of Jason Salavon today and I thought "I could do that" so I did. In the spirit of his Emblem series, I decided to create a radial interpretation of a still image, rather than that of an entire motion picture. The result is a fairly accurate quantitative representation of the colour variation in the photo of our design studio that I sampled for this piece.

Click the image below to view the full-size version.

So what does this have to do with our studio project? Well, I suppose it proves that the aesthetic analysis of a space can be represented both artistically and informationally. But also, it just looks cool.

Inventory and Analysis

2006-10-02T13:17:00.000-05:00

[click image to enlarge]
[download the pdf]

I have compiled a visual inventory of the parts found in my vivisected devices. The results showed some obvious trends: Sound input, generation, manipulation and output were the most common. For example, every device in question has a speaker, amplifier and some kind of parametric modulator. Thus, my research naturally began with the exploration of acoustic manipulations. Bernhard Leitner's sound:space installations were of particular relevance to my personal interests, especially Streamings, Sound Architecture, and Soundchair. His investigation into sound as a multisensory experience immediately reminded me of the percussionist Evelyn Glennie. As a profoundly deaf musician, she relies not on her ears but the rest of her body to sense the phenomenon of sound. This informs the possibility of a synaesthetic environment in which one can experience architectural inhabitation through a new set of sensory media.

Since the ambient noise of a built environment can be a defining spatial characteristic, it would be interesting to analyse or manipulate it. I have been looking at John Cage's experiments with noise as a fascinating phenomenon that has obvious architectural applications. The material of architecture itself can be used as a transducer or resonant medium to either input or output environmental sound.

Here is a chart of my research and its tangental connections so far:

[click image to enlarge]

The Bends

2006-10-02T13:15:00.000-05:00

Here is a video with sound of my first circuit bends with the wal-mart kidtar.

Also, here is a "microphone" i made out of a speaker and a patch cord. It works well for picking up ambient sounds, so the next step is to build a contact mic from a piezo element that will go deeper into the collection of environmental noise.

Vivisection II

2006-10-01T17:37:00.000-05:00

I picked up two more items from Value Village; childrens' toy keyboard/guitars that I have dubbed 'KidTars'. The first is quite simple. It plays a few prerecorded riffs and some killer guitar licks. I can't wait to bend it, although it actually sounds pretty badass already.

The second one has many more parts, sounds and special features. Although the sounds are less desirable and, well, rather annoying. After a bit of experimenting I was able to get a few interesting bends out of it. In addition to the usual button contacts, it contains a neat-o rotary switch and a POV spinner! For some reason it displays "Wal-Mart" and "Dance" along with an assortment of shapes. POV displays are the hottest new tech toy it seems. You can find examples of them on bicycle wheels, cell phones, even shoes.

Here is the POV in action. The effect is lost in the video, most likely because of framerate issues, but it displays the general motion. I wonder if I can reprogram the message... I probably need a new chip. As for bends, I'll post some recordings soon.

Vivisection

2006-09-28T21:24:00.000-05:00

It has begun. I cracked open a couple of electric devices today and took a look inside, documenting my findings as I went. An adorable old portable record player made by sears and a small clock radio. Both contained speakers and amplifiers at different scales. The turntable had the additional features of an electric motor and an input device i.e. needle and tonearm while the radio had an LCD and a radio receiver/tuner. What interests me most about these devices is not their intended functions but the potential of their active components such as speakers, amplifiers and receivers when used within an environmental context. I have visions of interactive architectural multimedia networks that transform the act of inhabitation into a performance of art.

Turn Turn Turn

2006-09-26T15:29:00.000-05:00

My Pinwheel Lever Mechanism of an Inverse Geneva Wheel is a success. This one was built out of thin basswood. Its success lies in the precision of its construction. When the crank is turned, the business end of the lever mechanism must travel in a triangular curve in order to properly drive the geneva wheel.

To determine the proper placement of the guide arm pivot, I attached a pencil lead to the mechanism to illustrate the different curves described by each positioning of the pivot point on a grid. After doing a bit of research on the geneva wheel, I found it strange that Artobolevski's design used the lever mechanism when it's obviously possible to make a perfectly good geneva wheel without it.

Machine Test

2006-09-23T15:36:00.000-05:00

As you can see, the machine works. However, as you can also see, it sticks a bit when it moves, but it can complete a cycle. I reconciled the arm layering order and the joints now have paper ends that keep them together. The hypocycloid channel was a good idea, but it does create a bit more friction, as do the joint ends. Friction is the biggest problem due mainly to the materials involved. Even though it works, I think the machine needs to be simplified before I integrate it into the next one.

Actuator Theatre: Thoughts

2006-09-21T15:27:00.000-05:00

ac•tu•ate
verb
1 [trans.] cause (a machine or device) to operate : the pendulum actuates an electrical switch.
2 (usu. be actuated) cause (someone) to act in a particular way; motivate : the defendents were actuated by malice.
(2006, Oxford American Dictionary)

Rather than making things with a specific end purpose, we are more concerned with the process of creating things that actuate and exploring their kinetic and expressive potential. Similarly, the movements of a device's components are as important as its ultimate function, not only in understanding its systematic relationships but in the creative progression and fusion of technology, art and structure as well. We hardly understand the true nature of the thousands of machines we encounter every day because their works are so consisently concealed. The envelopes of many of these machines belie the unique characteristics contained within. Why is a glass elevator so much more appealing than an enclosed one? It seems as humans we have an innate fascination with movement, function, structure and complexity. Perhaps it is our need for order and rational understanding in a complex universe that lies at the root of this preoccupation with the systematic logic of mechanical devices. Conversely, it is the subversion of this logic in a complex system that makes a machine an evocative and truly animate entity, infusing it with a vital energy that can only be described as art.

Drawing Machine No. 1

2006-09-19T22:46:00.000-05:00

The above diagram represents one of Artobolevski's ingenious drawing machines. This one uses a system of mechanical linkages and gears to draw a three-petal polar rose curve. Sounds simple, right? The tricky part is building it out of paper.

This is a simple machine that draws a lemniscate. I made it quickly and crudely out of cardboard and it worked quite nicely.

This is my preliminary drawing of the Artobolevski machine. The circles will be gears that describe a deltoid hypocycloid the pedal of which becomes the rose curve. The next step is to make some gears.

This will become the outer ring gear.

Testing the paper gears. The sides of the teeth have been folded up to interlock with each other.

This is a mock-up of the linkage system made out of millboard. It works, but it needs some major adjustments. Since it will be made out of paper eventually, steps will have to be taken to increase its rigidity. Also, it is a bit bulky and tends to get caught upon itself as it moves. The X joint is going to need some refining to increase precision and decrease friction. Then I'll combine it with the gears and see what happens.

Folding / Unfolding

2006-09-19T10:02:00.000-05:00

I've been reading "Expressive Form, A Conceptual Approach to Computational Design" by Kostas Terzidis and I found the following passage from p. 5 especially relevant to our current studio assignment:

Folding is an intricate process that addresses one of form's most existential qualities: the cross from one dimension to another, for example a two-dimensional sheet of paper folded into a three-dimensional composition. In contrast, unfolding is a term used to denote the process of opening, spreading out, or extending something folded. Rather than approaching folding or unfolding as isolated operations, they should be understood as a complimentary and unified pair, the importance of which lies "in between" as the one operation owes its existence to the absence (or the potential existence) of the other. Furthermore, the possibility of using kinematics opens up a more intricate relationship between (un)folding and motion. While the dominant mode for discussing the notion of folding in architecture has been that of an aesthetics paradigm, the use of kinematics, implemented through folding schemes, may challenge the very nature of what architecture really is.

Nothing

2006-09-13T21:23:00.000-05:00

This blog is nothing. Over time, it will take on its as yet undetermined form, but for now it is nothing. That is all.

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