2000-2010
From Yo-yo
Contents |
2000
[[File:WindVeil_lrg.jpg|200px]thumb|right|] Ned Kahn
Wind Veil - Gateway Village, Charlotte, North Carolina. 2000
A 260’ long by 6-story tall facade of a new parking garage in Charlotte, North Carolina was covered with 80,000 small aluminum panels that are hinged to move freely in the wind. Viewed from the outside, the entire wall of the building appears to move in the wind and creates the impression of waves in a field of metallic grass. Inside the building, intricate patterns of light and shadow, similar to the way light filters through the leaves of trees, are projected onto the walls and floor as sunlight passes through this kinetic membrane. In addition to revealing the ever-changing patterns of the invisible wind, the artwork was designed to provide ventilation and shade for the interior of the parking garage. Commissioned by Bank of America. Completed in August, 2000.
http://www.nedkahn.com/wind.html
2003
Steve Heimbecker
he Wind Array Cascade Machine (2003) WACM, is a 64 channel kinetic wind mapping and network diffusion system. Inspired by the wave patterns of the wind seen flowing across the summer wheat fields of the Saskatchewan prairies, each of WACM’s 64 motion sensors move and bend very much like stocks of wheat. At a sample rate similar to film frame rate, the 2 meter tall "wheat stock" sensor units record the velocity (amplitude) of the wind by measuring the tilt of the sensor as affected by the force of the changing wind. Wave pattern and direction, a bit like falling dominoes, are captured using the entire WACM network. For Heimbecker, these wave patterns metaphorically represent the movement of sound (sine) waves in space, and like sound are affected by the architecture of the space that it exists in. The data generated by the WACM can be recorded and archived like a photograph, or can be streamed over the WWW to Heimbecker's installations built for the WACM data set.
http://www3.sympatico.ca/qubeassm/WACM.html
2004
Martin Bonadeo
This project proposes to connect people "escaping" from the campus with details from their real soundscape. By taking hourly measurements of the wind, I developed a code for a sonification –a sound representation of this data- and play it through the campus carillon at 5 PM every day for 8 days. Wind chimes is an abstraction and re-composition of wind movements during each day played to be heard across the campus.
http://www.martinbonadeo.com.ar/shows.html
http://www.martinbonadeo.com.ar/18_carillonen.html
Andrea Polli
The Queensbridge Wind Power Project
The Queensbridge Wind Power Project presents a vision of a future when meeting energy needs can enhance the beauty of a city by investigating how clean, renewable wind power could be integrated into the landmark architecture of the Queensboro Bridge
2005
Matthew Burtner
Windcombs (2003 - 2005)
for voice, instrumental ensemble, computer sound/interactive media, dance/movement, and video
My interest in ecoacoustics arises from my experiences growing in the Arctic of Alaska, on the fishing boats on Alaska's Southwest coast, and in the mountains above Anchorage. As such, snow, ice, wind and sea figure prominently in my work. I developed ecoacoustic techniques in works such as "Sikuigvik" (1997) (the time of ice melting) in which the process of ice melting is used as a musical form; and the large-scale "Ukiuq Tulugaq" (1999-2002) (Winter Raven), in which systems of snow, wind and climate generate musical form. It has further been employed in works such as "Fragments from Cold" (2006) for cello and electroacoustics, "Winter Falls" (2000) for bass and electroacoustics, "Windprints" (2005) for Chinese Sheng and mixed ensemble, "Windsketches" (2005) for metasaxophone, "Snowprints" (2001) for flute, cello, piano, video and electroacoustic, and others. Ecoacoustics is also at the basis of my recent immersive multimedia pieces.
New interfaces and technological instruments such as the nWinds (above right) and the Windtree (above left) allow ecoacoustic systems to be projected in real time on the concert stage.
In a White Light (1997/2000)
for violin, piano, and Arctic wind explores the region between music and environment. In this piece the inner spirit of sound is discovered through the interrelation of ecological and musical elements. The codependence of instrumental, human, and environment in the piece forms a “musical ecology”, the music being formed inside of a larger environmental compositional context. Environmental body, instrumental body, and the performer’s bodies create a hierarchical musical ecosystem from which the music arises and into which it decays. Clearly visible objects recede into a white light leaving only traces of their passing.
Each performer vocalizes carefully notated sounds which are intended to add noise to the instrumental sound, thereby forming a link between the body of the instrument and that of the performer. Arctic wind sounds recorded in the far North of Alaska and mixed onto CD are played into the concert space. The wind acts as an ecoacoustic musical context defining the psychological boundaries of the piece. The wind also forms a larger link between the concert environment, and the performers themselves through the timbral unity of noise as the result of changing air pressures against a body (wind in the trees and breath from the mouth).
Windprints (2005)
for sheng and ensemble (fl, ob, bsn, tpt, tbn, vln, vcl, db) was commissioned by CrossSound and composed for virtuoso Sheng player, Wu Wei. Windprints explores the relationship between environment and imagination through wind. An audio recording of ambient wind, made on the coast of Alaska, is used as the basis for the instrumental work. The frequencies and dynamic properties of the wind over time were mapped into the instrumental parts in a process known as sonification. The dynamic structure of the instrumental part is thus determined by changes in the wind.
The music presents the wind not literally, but as if it is heard through the imagination. Gusts of wind lead to ruptures in the imagination space, blowing melodies into being. Analysis of the wind audio file revealed seven large gusts and as a result, in Windprints, there are seven such ruptures corresponding to seven melodies. As if from prolonged exposure, certain tones become more prominent representing a process of physical memory.
https://ccrma.stanford.edu/~mburtner/
2006
Ernesto Klar
"Convergenze parallele - 2006" is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in real-time by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. "Convergenze parallele" explores the poetic potential of revealing and transforming the imperceptible, and attempts to sensitize observers to the intangible energies and perpetual transformations of natural phenomena.
http://www.klaresque.org/conver.htm
Tonkin Liu
Singing Ringing Tree - 2006
Crown Point, Burnley © Gayle Knight
Singing Ringing Tree is a musical sculpture in the landscape, constructed of stacked mild steel pipes of varying lengths, which sits on the top of a hill above Burnley, in Pennine Lancashire. One of a series of ‘all-seeing structures’ designed to occupy high point sites in the Lancashire hills, Singing Ringing Tree is part of the Panopticons project, an initiative set up to explore the value of art’s role in regeneration. Selected as Burnley’s Panopticon through an invited competition and public consultation process, Singing Ringing Tree was recently unveiled at Crown Point and is attracting streams of visitors. Designed by architects Tonkin Liu to encourage both local people and visitors to explore the beautiful Lancashire countryside, Singing Ringing Tree takes the form of a tree bending to the winds and harnesses the energy of those winds to produce a low, tuneful song. Previously occupied by a derelict brick shed and radio mast, the Crown Point site is now defined by an enigmatic sculpture which sings into the landscape, animating this dramatic location with song. Making the wind sing Tubes vary in length and diameter to create a range of musical chords, and are arranged in a regular rhythm of layers. Each layer differs from the next by a 15 degree horizontal shift, creating an asymmetrical sculpture in the round, which responds to the changing wind directions. To create flutes that would tune the sound made by the wind, slots were added to the underside of 25 pipes.
http://www.youtube.com/watch?v=_rhuFGvXARA
http://www.bdonline.co.uk/story.asp?storycode=3142819
Tom Corby & Gavin Baily
CYCLONE.SOC - 2006
CYCLONE.SOC brings together two contemporary phenomena: Severe weather, the project uses weather data that charts the emergence and progress of hurricanes. And the polarized nature of debate that occurs in certain online newsgroup forums.
The project maps textual conversation taken from the political and religious newsgroups to the isobars of a dynamic, interactive weather visualization of hurricanes - whose complex structures are used to visualize the conversational churn and eddies of the newsgroup conversations.
2007
Leah Buechley
Wind board
Spring 2007. A combined input/output device captures and displays the wind. The board also functions as a two handed input device. The state of the grid is continuously transmitted to a computer via bluetooth.
http://web.media.mit.edu/~leah/grad_work/projects/wind_board/wind_board.html
Tomas Saraceno
Poetic Cosmos of the Breath was an experimental solar dome created by artist Tomas Saraceno. It was launched at dawn on the 22 September 2007 at Gunpowder Park, Essex, UK.
Tomas Saraceno is an artist and architect whose utopian vision for cities that float in the air - changing form and joining together like clouds - has led him to create a series of experimental structures such as balloons or inflatable modular platforms that can be inhabited and exploit natural energies.
2008
Mary Choueiter
Wind Writings borrows and reinterprets the pinwheel icon. Pinwheels are an array of colours that are set to spin and mix with the energy of the wind. In this project I attempted to translate the relationship that pinwheels have with the environment and the wind to give them a voice. This voice would vary as the spinning of the pinwheels varied in the wind.
http://www.marychoueiter.net/index.php?/projects/wind-writings/
http://www.marychoueiter.net/index.php?/projects/wind-writings2/
2009
Kathy Marmor
The Messenger - 2009
This is a prototype for the first fan. Text messages sent by any mobile device are combined with TWEETS to generate new senstences that are transmitted via bluetoothto the POV fan .
http://www.uvm.edu/~kmarmor/?Page=news.html
http://www.kathymarmor.com/
Olivier Meunier
"eol-link harps" what if we combine an eolian harp, a windmill and a wireless transmitter... ?
With this 3 elements, adapted from known techniques and free software, we'll build a orchestra of diverse eolian harps on different places of the city, with the resulting song streamed over the internet and the free city network reseaucitoyen.be over Brussels...
this performance is a first event through our exploration of mater and techniques for the realisation of this project, wich will be presented in other spaces together with the installation of newer nodes. with Stephanie Laforce, Olivier Meunier
2010
DoubleNegatives Architecture
corpora in Si(gh)te (sensor networks convert temperature, wind, etc data into virtual architecture for live location AE09)
Luke Jerram
the creator of various sculptures, installations, and live arts projects, has just recently received an £225K grant from EPSRC to design, build and tour his new artwork Aeolus. The color blind artist is presently working with the ISVR (Institute of Sound and Vibration Research), University of Southampton, on the specially designed architectural space that will resonate and sing with wind. Jerram hopes to tour the windy hilltops of the UK with his temporary building.
Aeolus - the acoustic wind pavilion will make use of Aeolian wind harps and the visiting onlookers could hear the music produced by the installation. Moreover, hundreds of solar light pipes will transport light to inner locations, thus minimizing the loss of light. It will produce an optical illusion, as the visitors will see a landscape of light, reflecting the mood of the weather. Cloud, sunshine, sunset and sunrise, all will sing in tune with the Aeolus.
http://www.lukejerram.com/projects/aeolus_acoustic_wind_pavillion http://lukejerram.com/projects/aeolus_acoustic_wind_pavillion
