From Yo-yo

1972

Chris Wilsby

Wind Vane - 1972

The location for this film is the western end of Hampstead Heath in London. Two cameras mounted on tripods with wind vane attachments were positioned about 50 feet apart along an axis of 45 degrees to the direction of the wind. Both cameras were free to pan through 360 degrees in the horizontal plane. There are three continuous 100 foot takes for each screen. The movements of the two cameras, which were filming simultaneously, were controlled by the wind strength and direction. The sound was recorded synchronously with the picture track and consists mainly of wind noise. Each screen has its own soundtrack when projected.

Windmill II. - 1973

The camera films a park landscape through the blades of a small, hand-built windmill. Each of the eight blades was covered in Melanex (mirrored fabric). The film was shot on a windy day in the park, with three 100-foot takes being shot on the same day. The camera angle remained the same throughout. Variations in wind speed and direction cause a constantly shifting relationship between the landscape in front of the camera, as seen between the blades of the windmill, and the reflection of the camera with the landscape behind it. The rhythm of this movement between foreground and background is created by variations in the strength and direction of the wind.

http://www.sfu.ca/~welsby/Wvanenot.htm

1973

Max Eastley

Kinetic Sound Sculpturea

Max Eastley's work combines kinetic sound sculptures and music into a unique artform. His work has been exhibited across the world, including Hayward Gallery's Sonic Boom show, the Natural History Museum in London, and the 2002 Festival De Arte Sonoro in Mexico City. He has performed in world famous venues including the Tate Britain and the Barbican Centre, and has run workshops about music and sound for all ages across the UK. He has collaborated with David Toop, Victor Gama, Graham Coxon and Spaceheads, amongst many others, and written music for Siobhan Davies' Dance Company. He is deeply involved in the Cape Farewell climate change project, and travelled on two expeditions to the Arctic circle. He plays an electro-acoustic monochord called The Arc, an instrument he invented and made himself. It is made of wood and wire and is scraped, bent and flexed into an orbit of amplified effects. (from Max Eastley's facebook)

http://www.myspace.com/maxeastley

---

1976

Alan Lamb

Alan Lamb calls his large-scale Aeolian harps “the wires” as they have evolved from his fascination with telegraph wires. His introduction was as a child in Scotland, when his nanny would stop and put her head to the poles to listen the “sound of the universe”. In the 1976, Lamb discovered an abandoned one-kilometre stretch of Telecom infrastructure and, after purchasing it, began experimenting. Since then he has released records, featured on soundtracks (most recently Wolf Creek) and indirectly influenced popular culture when he was contacted by the sound designers for the original Star Wars film — where the distinctive 'ping' of tapped telegraph wires was used for the sounds of laser blasters.

He is the original “wire music” man. Inspired in 1974 by the natural music of telegraph wires singing in the wind, he has built many a wind organ, his name for the wire installations he creates in mimicry of telegraph wires. Alan has composed a unique class of musical works known all over the world and used in conservatoriums to teach that humanity is not the only composer of music.

http://www.rainerlinz.net/NMA/22CAC/lamb.html

http://www.sounddesign.unimelb.edu.au/web/biogs/P000277b.htm

http://www.abc.net.au/arts/adlib/stories/s873159.htm

http://hghlght.blogspot.com/2009/06/wired-for-sound.html