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air to air is the working title of the current proejct-derivate from data_opera and even more from its sprout dbd, dusted bass n’ drum

still using analog modular synthesizer controled by control voltages, which are electric displays of sensor values.

what changed is the use of different sensors monitoring air quality, temp and humidity and the approach to go for better focused interactive control.

air-quality sensor turned out to react on smell and does so, if the carrier substance is gone, very delicate and in a very close reach, what offers new approach to use it as interface played with spattels as carrier.

the temperature  and humidity sensors should work good to, if e.g. dancers pass by and stop for a while close to a sensor, while dust sensor and air-quality sensors with damped sensitivity should carry out subtle changes in some general parameters of the sound-environment influenced by the overall cumulated activity while the performance evening.

first two are from preparations for performance at servus.at  AMRO 2014 festival nightline in STWST

last is about first steps to engage air-quality sensor as part of an olfactory playable interface to control analog synthesizer parameters. in this case mainly filter parameters.

air to air g7 OFF development post here!

 

direct visualization of sound generated by “air to air” setup:

during setup the idea arose to visualize the sound output of the “air to air” modular synthesizer setup, as there was still the video tool sitting in the modular rack.

the sound is influenced by air realted data translated into control-voltages interfering as modifiers of modulation streams.

during tests I realized, that adding some very high frequencies constantly standing, to the realtime controlled sound mix, results in very nice visuals dispersing the waves into point clouds.

so what you see is not exactly what you hear, but not more. only portions of audible signal present in mix are tempered to keep signal in range of screen with / projection width.

finally during performance first only the tv-screen will be operated later on, after adding haze to the room and driving the dust sensor nuts, visualization will add beam projection, which works beautiful with flikering light points and partials of the lines dancing the sound.

 

air to air wird im Rahmen des g7 OFF am 28.3. 2015 eine Rolle als umgebungs- und interaktions-sensitives sound environment spielen.

Gemeinsam mit anderen Musiker_innen, Performer_innen und allen Anwesenden wird die Raumsituation bezüglich Temperatur, Luftfeuchtigkeit, Staubgehalt und Luftqualität ständig beeinflusst. Alle und Alles im Raum wirkt sich auf die, mit Sensoren überwachten und in die Klangsteuerung des analogen Modular-Synthesizers eingebrachten, jeweils momentanen Zustandswerte aus.

Somit ist ein (steuerbarer) Teil der Klanggestaltung mit “air to air”  abhängig von sich überlagernden einzelnen kumulierten und interagierenden Veränderungen im Luftkörper der Räume des g7, die unvermittelt auftauchen und als Messwerte mit Voltmetern ablesbar sind und gleichzeitig, ja nach Gewichtung der Stärke eines Parameters auch mehr oder weniger deutlich hörbar.

Die akustische Ebene ist allen gleichzeitig aber örtlich unterschiedlich deutlich vernehmbar, die optische Kontroll Monitor Ebene wird nicht oder nur vermittelt, “einweihend” transportiert bzw. zugänglich gemacht.

Erste setup Shots:

GoPro from ceilling – unfortunately bad quality as it was to dark.

pictures, sound and videos taken during the Ars BioArctica Residency with Markus Decker in Kilptisjärvi Biological Research station.

dbd ist ein derivat von data_opera bzw. ein link zwischen Michael Schweiger’s data_opera und Sonifer’s bass orientiertem analog synthesizer musik projekt. In dbd treffen die, im Rahmen der Special Issues Ausstellung gewonnenen, Erkenntnisse und davon abgeleiteten neuen Zugänge zu data_opera auf den schon seit einiger Zeit gewachsenen Wunsch nach Interaktivität abseits von “wo ist der Sensor” und was “beeinflusse ich direkt” während Sonifer’s live Performances.

dbd geht dabei augenzwinkernd, spielerisch und doch nicht unernst an die Interaktivität als Grundlage nichtintentionaler Ergebnisse intentionalen Einzeln-Handelns und an die Lernkurve bezüglich dieser Interependenzen heran.

dbd nutzt die unterschiedliche Bewegungsintensitäten der Teilnehmer_innen ebenso wie die räumlichen Gegebenheiten bezüglich Luftumwälzung, Staubentwicklung und deren Dynamik, die wiederum von den Teilnehmer_innen und deren Bewegungsmuster und Bewegungsinstensität, aber auch von der getragenen Kleidung, der Verteilung von Nichtraucher_innen zu Raucher_innen usw usf. und liefert somit kaum vorhersagbare Messergebnisse der Staubkonzentration an unterschiedlichen Punkten im Raum. Diese Staubkonzentrationen beeinflussen unterschiedliche Parameter des analogen Musik Setups, aber nicht im Sinne einer fixen “Verdrahtung” oder fixer Funktionen (mathematisch) sondern eher in der Art politischer oder medialer Aufmerksamkeit und/oder Wahrnehmung und Thematisierung. Kurz: Sonifer als steuerndes, bewusst, intentional handelndes System, das an der Erhaltung zumindest des Kerns der eigenen Klangpräferenzen und somit an seiner musikalische Selbstreproduktion interessiert ist, blendet die Wirkung der Staubkonzentrations – Messwerte und deren Entsprechung als Steuerspannungen für das analoge Synthesizer Instrumentarium, intentional, willkürlich mehr oder weniger ein oder aus. Zu welchem Grad, bleibt den Teilnehmer_innen verborgen.

 

 

Videos vom letzten Test-Setup:

 

servus.at – cultural network-based iniative in Linz Austria hosted the exhibtion “Special Issues“, which aimed to document, transport and reflect the comeouts and therein involved processes of the BioarsArctica Residency in November 2013 in Kilpisjärvi Finnland.

It was quite interesting to communicate the special issues within two different settings, the opening and during two evenings dedicated to talks and discussion on aspects and details of similarities and differences between the projects and approaches, which Markus Decker and me studied at the Kilpisjärvi station. However besides that talk and discussion as well as the process of conceptualizing the installation setup and appearance did both, restart a yet running reflection process and yet altering again the approach concerning details of the sonification of dust concentration.

Setup Video:

Special Issues Images:

 

Fieldrecording:

Friday 22/11/2013 first fieldrecordings with the piezo mounted on the ice-surface of Kilpisjärvi (Lake Kilpis / Kilpis See).

It seems the piezo is mounted to close to the shore but that was due to the fact that the ice is not yet stable. Unfortunately it started snowing too, so the ice will get colled less so further freezing will take longer and besides that the surface is treacherous as the ice is under the growing snow layer, which adds weigth onto the ice.

What once again was surprising is how selective we hear, the recordings  about 9 minutes one with the piezo and one with the internal mics – two omni directional ones – mounted almost directly on the ice surface contain some nice cracks and deep, long lasting and developing sounds,  but the recordings are not compareable too the audible sensation on site. On the one hand the piezo needed more amplification than considered, so there is amplification noise and further the low sounds where not transimtted good. I guess the sound that one heras is actually a sum of sounds emerging along the cracks the ice develops due too tenscions and as I think due too the moving water body underneath the ice.

The internal mics did a somehow better job but therefore the sound of the trucks passing by on the road and the sound of an increasing number of Norwegians who come along for cheap shopping, cheap alcohol and / or for there huts some with their skidoos which they are not allowed in Norway, all that and the increasing wind is mirrored in the recording. And as said much more present in the recording, than percieved on site.

As the ventilation system started to form drones of the wind I did some recordings in the bath and in the storage-room. This one is a raw excerpt out of hours of recording, only a bit amplified passage of a recording in the storage-room:

Back in Helsinki audio perception is challenged but more willing to listen for patterns and exiters so I’ll go and grab some audio during the day.

 

 

 

Fotography:

In Helsinki I tried to get familiar with both cameras I have with me, a Hasselblad C500 and a small Nikon F2 both with really strong optics.

As I’m not familiar with analogue cameras I definitely started worse than dilletant. I only can hope that at leason friday I saw the aurora in grenn and purplet one, two or maybe some more pictures of about 36 shots will work.

At Kilpisjärvi I did long time exposures with both cams on the first day, as the Aurora was active and nicely visible, unfortunately in the direction, which is exposed to the lights of the road and additionally the mood was reflected strongly by the surrounding Fjells, l to get the film out, as the camera continues to make troubles, the film seems to be stuck!

Did nice shots towards the rsing sun which was lower than a wide low cloud front colouring the remote swedish and norwegian mountain on the other side of Kilpisjärvi.

Aurora:

Geting aurora pictures turned out to be tricky. I have seen Aurora quite often, but I missed all really great activity, on Friday 29/11 I saw the biclored aurora, green and purple, as I went from the lab to our quarter, but of course this moment unprepared, so without camera, when I was out then with the camera just one or two minutes later well there was still aurora activity, but not anymore moving so fast, like really dancing and only green for the rest of the time I had been out.

Aurora shot at Kilpisjärvi end of November 2013. Camera Nikon from negative Film scanned @ 4800 DPI © Michael Schweiger all rights reserved

On Saturday I finally got some more shots of a good activity, covering major parts of the sky

 

More pictures here:

 

On the hike on Mt Saana on the third day I did some shots with the Nikon and its fantastic 1:1.4 optic but I have to look to get the film out, as the camera continues to make troubles, the film seems to be stuck!

Did nice shots towards the rsing sun which was lower than a wide low cloud front colouring the remote swedish and norwegian mountain on the other side of Kilpisjärvi.

Aurora:

Geting aurora pictures turned out to be tricky. I have seen Aurora quite often, but I missed all the really great activity, on Friday 29/11 I swa the biclored aurora, green and purple, as I went from the lab to our qurter, but of course this moment unprepared so without camera, when I was out then with the camera just one or two minutes later well there was still aurora activity, but not anymore moving so fast, like really dancing and only green for the rest of the time I had been out. On Saturday I finally got some more shots of a good activity, covering major parts of the sky, but moving slowly and once more when the camera was positioned the activity was declining, but I did some 30″ to 15″ shots with steps of 5″ for different angles and some with handtimed exposure as well.

But what comes now is just waiting and waiting, till I’m back in Linz and then I have to discuss with some experts in fotography how to develop the pictures and how to continue especially with the shots taken on slide film.

And as a intermediate resumee I have to state, that I’m so happy that I saw at least for a moment a wild moving two colored Aurora and some other intense emergences of this space – spectacle and do not complain much about the fact that whenever I witnessed high Aurora activity the camera was somewhere else that me, what counts is I saw it even for hours during the two nights I had decided to stay out for some longer periods throughout the night. One never needs to forget there is never any grant for seeing these phenomena, as the nights with the highest activities had been heavily clouded, while some days with only moderate or low activity froecast – current activity or forecast – did show actually stunning views, well at least for one who see’s that first time.

 

 

 

aostation_mast1-300x215

Kilpisjärvi biological station

 

The great news is, that data_opera will visit Kilpisjärvi biological research station in November 2013, as we, Markus Decker and me, can follow the invitation for residency in “Ars Bioarctica” Program, because we finally made it to succeed in Linz Export 2013 project application.

And here the station is located: Kilpisjärvi biological station

Kilpisjärvi station and Mt Sanaa - Picture Copyright © 2003-2004 University of Helsinki. All rights reserved

Kilpisjärvi station location

 

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Data_Opera ist das aktuelle Projekt von Michael Schweiger, das sich mit Möglichkeiten und Zugängen der Verklanglichung von Daten bzw. Umweltdaten beschäftigt.

Data_Opera is Michael Schweiger’s current project dealing with possibilities and approaches concerning sonification and sonorization of data – especially focusing on environmental data.

Unter Umweltdaten wird prinzipiell alles an Daten über Strahlungen, Stoffen, Partikeln usw. verstanden, das unsere Umwelt durchsetzt, unabhängig davon ob athropogenen oder natürlichen Ursprungs.

Particles, radiation, any matter that pierces our environment is seen as base for collecting data, no matter about it’s antropogenic or natural origin.

Im speziellen aber zielt das Projekt auf die Verklanglichung von Luftgüte und dabei im speziellen auf Partikel, also Feinstaub etc. ab.

One special concern of the project may be sonification of air-quality / air-pollution, therefore focusing on particles, respirable- (fine-) dust etc.

Verklanglichung bezieht sich auf beide Ansätze, die Sonifikation und die Sonorzation.

To make data sound in this case seeks for both, Sonification as well as Sonorizarion

Sonifikation ist der Bereich der Verklanglichung der unsere Laut- und Hörssphäre schon sein einiger Zeit und in wachsendem Maße erweitert, verdichtet und durchtönt. Beeps und Bleeps, Soundminiaturen, wie Soundlogos u.ä. bereichern die Kommunikationsschnittstellen speziell unserer Kommunikationsgeräte und -Mittel. Mobiltelefon, Heizungssteurung, Computer, Geräte der Medizintechnik, Biofeedbackapparate und vieles mehr kommunizieren mit uns auf akustischem Weg. Auch wenn dieser Teil der Funktionsklänge oder funktionaler Klänge intentional und zunehmend künstlerisch gestaltet wird, das gilt speziell für Soundlogos, so sind sie meist abseits der Markenkommunkation recht einfach gehalten.

Sonification is the realm which shapes the Soundscape since decades and finds growing desitiy, intensity and influence on the soundscape. Beeps, bleeps, sound-minatures like soundlogos enrich  (communication)-interfaces – especially of communication-tools. Cell-phones, control-interfaces of your heating-system, computers in general, medical devices, bio-feedback-devices and many more (yet increaing) things communicate with us, the users in base of accoustic communication. Even as this partial of functional sounds meets an increasing approach of artistic-intentional design – this is especially true for sound-logos – most of this still remains to be unkindly and simple designed, especially apart from Trademark-Communication.

Sonorization geht einen bedeutenden Schritt weiter: Es geht um künstlerische Verklanglichung, also zum Teil auch um kompositionelle Zugänge und immer auch um mehrschichtige Zugänge und Bedeutungsbezüge. Das ergibt sich daraus, dass der inter- und transdisziplinäre Zugang der relativ neuen Soundstudies Denkfiguren und Ansätze wie “Denken mit den Ohren” (Sam Auinger / Bruce Odland – O.A.) oder “Spaces speek! Do you listen?” (Barry Blesser / Linda – Ruth Salter) Hören im Sinne einer Emazipation und Kritik der Sinne als Erkenntnisinstrument und gleichzeitig als starkes kulturelles Ausdrucksmittel auffasst.

Sonorization takes one significant next step: Artistic approaches to sonification count, therefore conceptional, compositional and multilayered approaches and meanings gain importance and cause new aspects. This mainly follows and derives from inter- and transdisciplinary approaches vital in the relatively new realm of soundstudies with thought-patterns and theoretical-figures like “Thinking with the Ears” (Sam Auinger / Bruce Odland – O.A.) oder “Spaces speek! Do you listen?” (Barry Blesser / Linda – Ruth Salter) that define “Listening” as a means for the emancipation of listening within the set of senses as means for critique on the internal, culturally set, hierarchy of senses, as well as a powerful means for cultural and societal expression.

In diesem Sinne wird Data_Opera sich über unterschiedliche Zugängen der Sonification im informationalen Sinne und mittels unterschiedlicher Zugängen zu Sonorisation im Sinne künstlerischer Auseinandersetzung mit Interaktionen zwischen kulturell gesetzten Wahrnehmungs- und Zuschreibungsmustern bezogen auf Bedeutung(sverschiebungen) u.a. im emotionalen Kontext und interkulturellen Aspekten beschäftigen. … Muss Feinstaub nach Moll klingen???

Thus Data_Opera will use both different approaches, Sonification in the informational meaning, as well as Sonorization to deal with aspects of interaction between culturally set perceptional and attributional routines concerning especially on meaning (and biasing of meaning) e.g. through emotional context deriving from intercultural aspects. Does finedust need to sound in minor???