Versus is the latest installation David Letellier, combining the robot mechanics with David’s long time area of exploration - kinetic sound installations, beautifully made. Previously collaborated with Lab[au] on Tessel (see detailed post on CAN), Versus consisting of two kinetic sculptures placed face to face in a space. Each sculpture is made out of 12 triangular panels, hinged and powered by six linear actuators, controlled by a custom software. At the center of each corolla, a loudspeaker and a microphone allow to play and record sounds.
At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound. Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors.
By intervening in this conversation, the viewer becomes an actor, as he degrades the communication by his presence and the noises he produces. As the panels move back and forth at a pace determined by the environmental sound, they create a non-immediate interaction, where the imperfections of reproduction are becoming creative elements.
The original sound is continuously transformed, and becomes something entirely new and unpredictable. The memory of past events is hold for a moment, until it’s reproduced, degraded, and then forgotten, replaced by the present.
More work available on davidletellier.net
- A levitating sound sculpture made of 300 wires – David Letellier’s Caten Caten (2012) is the latest kinetic sound installation by David Letellier, Berlin-based sound artist, audio-visual performer and CAN regular. Site-specific to Chapelle du vieux St-Sauveur, a 12th century Gothic chapel in Caen (FR), Letellier sculpted a delicate veil of 300 thin wires, filling the historic site with a magical epiphany. Suspended from two ropes, each connected to slowly rotating arms at both ends, the ghostly structure comes alive, performing gentle, organic movements and a sacral real-time composition. Compared to Tessel (2010) and Versus (2011), Letellier's two previous installations, the technology behind Caten is rudimentary. "There's no software. Just four industrial worm gear motors, that's it," Letellier tells CAN in an email. "Two of the motors are connected to relays that switch on and off from time to time in order to desynchronise them and produce different shapes." The rest is left to gravity and the beauty of 'catenary', a mathematical term for the curve formed by a rope – or wire – hanging freely between two ends. "In order to determine the length of the ropes and wires considering the dimensions of the church, I built a Grasshopper patch for Rhino based on the 'catenary' equation, that computes the shape depending on different parameters." The subtle elegance of the result both contrasts and complements the millennial architecture, strangely mirroring its many arches. Caten's quadrophonic sound composition – equally site-specific – is "inspired by medieval solmisation prayers, especially the first verse of Ut Queant Laxis, also known as the Hymn to St John the Baptist." According to Letellier (who also releases music under the moniker Kangding Ray) the hymn was used in the eleventh century to determine the names of the notes of the scale used in latin countries. "Each motor plays one of the first four notes of the scale (Ut, Re, Mi, Fa), creating a sequence of intervals that is constantly reconfigured." More specifically: each time an arm makes a full turn, the motors (fitted with Piezo triggers) send a MIDI impulse. A MIDI converter devides the signal is into four MIDI notes to generate four harmonics of the same notes. The sound is then produced in real-time on a 1983-built Korg EX-800 analog polyphonic synthesizer and emitted through a system of 4 L-acoustic subs. "The low frequencies resonate beautifully in the space and emphazise the transcendental character of a place once dedicated to faith." Caten was produced with the support of Station Mir and opened on April 24th as part of Interstice Festival 2012 in Cean, France. Read about the details behind Letellier's Tessel, a collaboration with Lab[au], here. Caten (project page) – David Letellier | Vimeo | See also: Kangding Ray on […]
- Dynamic Structure 29117 [c, Objects] Dynamic Structure 29117 is the latest in the collection of kinetic structures created by Willem van Weeghel in the last year. The 29117 is a mural object with dimensions of 4.20 x 2.80 m. It consists of a white background and 32 dark blue lines. These lines (made of thin stainless steel and carbon) can all rotate independently from each other. There are eight groups of 4 lines that rotate into each other. Every line is moved by a completely silent electrical motor. So in total 32 motors and no sound. The motors are driven by an integrated operating System with custom made software written in PLC (c-based) that allows precise positioning. Out of random chaotic structures ordered structures are processed. In the work is a kind of library with cycli of movements and structures. The software produces a random moving structure and chooses a cyclus from the library. The transitions between these cycli give shape to new structures that are hardly ever the same. Project Page See also: One Perfect Cube […]
- ‘Signal to Noise’ by LAb[au] – 512 mechanical split-flaps and the noise of data 'Signal To Noise' is the latest installation by LAb[au], immersing the spectator in patterns of sonic motion produced by 512 recycled mechanical split-flaps. The expression 'signal-to-noise' is a measure used to quantify how much a signal has been lost to noise; it's a ratio of useful to un-useful information in a data exchange. The circular installation invites the visitor to plunge into a kinetic composition in the midst of the eternal calculation process of an auto-poetic machine. The split-flaps are constantly spinning on a variable speed/rhythm which is dependant upon on the underlying algorithm, analyzing in the maze of information the appearance of a word-equals-meaning. The works consists of a circular structure, containing 4 horizontal rows of 128 split-flaps at eye height. It is an interesting hybrid between digital and analog technology based on mechanics, visual and sonic characteristics that have been carved in our memory - train stations and airports. It is sad that these displays once covered entire walls of train stations and airports have nowadays almost entirely disappeared from public space - replaced with much cheaper LED displays. By pure accident in January 2011, LAb[au] had the opportunity to recuperate a stock of old split-flaps coming from Bruges’ train-station which had been stocked for several years in Ghent. The team now own a big stock of split-flaps after having spent months restoring them. Today, 512 of these split-flaps sit at eye height at Pearson International Airport, Toronto. The signal is the silence and noise being the one of the (rotating) split-flaps communicate the ratio of useful information to false or irrelevant data in a conversation or a data exchange. The split-flaps are constantly spinning but on a variable speed/rhythm depending on the processing limitations of the underlying algorithm, analyzing in the maze of information. Once a word has been recognized the corresponding split-flaps, those characters stand still for several iterations. The circular installation invites the visitor to plunge into an audio-visual composition right in the center of a calculation process of an auto-poetic machine. 'Signal to Noise' will be exhibited at Pearson International Airport, Toronto, June 8th - Must […]
- Fari – Choreographed array of moving light heads Created by Andreas Gysin in collaboration with Sidi Vanetti, Fari is a kinetic installation created with an array of moving light heads in a geometric configuration and programmed as a […]
- flight404 at Decode / V&A [Events, News] Robert Hodgin aka flight404 has just posted this video of an application he is working for the Decode event at London's V&A to open next month. Robert was asked to rework his older Solar piece so that it could be audio responsive in real-time. Whilst the details of the actual exibit are yet unknown, it is nevertheless exciting to see Robert's work at the V&A. Video at the bottom is the older piece but do make sure you watch at HD / full screen. He will be joined by the names such as Golan Levin, Daniel Brown, Daniel Rozin, Troika and Simon Heijdens. More about the event here. 8 December 2009 - 11 April 2010 // Curated in collaboration with onedotzero (via Homage to Radiolab « all manner of […]
- The Particle [Objects] “The Particle” is a kinetic sculpture produced at Barcelona’s visual arts workshop Hangar by software and interactive audiovisual artist Alex Posada. Packed with custom electronics and using XBee for wireless communications, the creation responds to the space around it, transforming movement into color and sound. Read more on Create Digital Motion » The Particle: Responsive, Kinetic Sculpture from […]
- Zimoun: Volume – 294 prepared dc-motors, cork balls and cardboard boxes Zimoun's kinetic sound installations hardly need introduction. Ever since the immaculate documentation of his work first surfaced a couple of years ago, the Swiss artist's elegant mass assemblies of mechanical dc-motors, wires, tubes and cardboard and the complex sound textures they generate have been subject of numerous international exhibitions and a lot more glowing reviews. Lofty descriptions however can't quite capture the immersive quality of Zimoun's installations, you have to experience them for yourself – if you are in the New York area between now and March 10th, you still can. Volume, Zimoun's first solo exhibition in New York, is curated by Laura Blereau and Steven Sacks and currently on view at bitforms, a gallery located in the Chelsea neighborhood of Manhattan. Exploring the intersection of art and technology for more than a decade bitforms represents some of the most influential practitioners today. One of them: Zimoun. 294 prepared dc-motors, cork balls, cardboard boxes 41x41x41cm, Volume's centerpiece, is part of Zimoun's current series of installations involving prepared dc-motors and cardboard boxes. And like most of the previous iterations it is site-specific: "Based on the size of the gallery I decided to build a space within a space," Zimoun tells CAN in an email (while already setting up his next installation at the Nam June Paik Art Center in Seoul, South Korea). "You can walk around it as well as enter it through an entrance. The sound experience changes along the way." The massive sound chamber that fills the gallery almost entirely is constructed out of 294 of Zimoun's prepared cardboard boxes, each being slightly displaced. "The pattern emerged naturally when I built the structure. An intentional play of chance and balance, if you will." Each box unit has a dc-motor with a wire attached. Instead of the ping-pong ball that was fixed to the end of each wire in other set-ups Zimoun now has a ball of cork drum against the cardboard. "A very homogeneous combination," he says. "The cork balls are very light and they sound a lot softer." The strength of Zimoun's work is not only the striking combination of aesthetic clarity, material simplicity and acoustic complexity. It is the sparks of individuality that flare within a stringent grid of countless identical components in monotonous motion. While all the cardboard boxes are of the same size and the motors of the same kind, the subtle variations in length and angle of the attached wires results in a wide range of individual behaviours and sound signatures. "Each motor does its own thing," says Zimoun. "And together they generate a dynamic sound of exquisite intricacy from what is essentially a very simple system." Go see it! Go hear it! Volume can be viewed at bitforms gallery (529 West 20th Street, 2nd floor, Chelsea, Manhattan) until March 10th. For the duration of the show, the gallery’s project room on the 6th floor also features four mechanical works by the artist and a video. Follow Zimoun via zimoun.ch | Facebook | […]
- Flutter [Objects, Inspiration] Flutter is an interactive artwork by Dominic Harris, and produced by Cinimod Studio. Presented at this years Kinetica Art Fair, the installation explores the viewer’s encounter with a rabble of virtual butterflies. Inspired by some ideas from the zoetrope and its later successor, the praxinoscope, by introducing interactive component it attempts to distance itself from the linear nature of the historical devices. As the viewer moves along the piece, the butterflies respond in various manners, directly interacting with the viewer. The object is 4.5m long, consisting of 88 monitors mounted as double-sided video fins protruding from a front surface mirror. I asked Dominic about the technical component of the installation and how it was all achieved. Dominic writes: All hardware and control is bespoke, developed for the Flutter artwork. Each of the 88 screens is individually controlled from a PCB that holds 1 gigabyte of uncompressed full-resolution AVI animation. Each of these is connected in series to a DMX data signal, where the DMX provides the frame number of the animation file to display update at 60 fps. A single solid state computer runs the overall installation, taking the data feed from the two thermal tracking cameras and interpreting their outputs to determine the correct animation frame number for each screen. To get more information on the project, see this project page on Cinimod Studio's website. A new edition of Flutter is currently being prepared and will be launched as a limited edition later this year. Dominic Harris is an interactive artist whose chosen palette of materials include lighting, interaction design, and electronics. Dominic’s artworks exhibit an on-going fascination between the marriage of evocative and beautiful concepts with the inventive adaptation of cutting-edge technologies. Dominic designs and fabricates his artworks at Cinimod Studio, a multi-disciplinary practice he founded in […]
Posted on: 02/12/2011
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