eTunes installation brought together novices in a collaborative environment
with no background in building musical instruments and audio devices.
eTunes demonstrates the both process and creative energies required to construct
such instruments and exposes some of the beauty of sound through
schematic data and audio and frequency graphs.
This excerpt is a movement of Oli Janâ€™s current composition project, “The Carnival
of the Endangered Animals“. The piece consists of several movements,
each of them featuring sounds of an endangered species (vulnerable/endangered/
critically endangered category according to IUCN Red List). Electronic
music generated from climate change data and acoustic instrumentsâ€™ sympathetic
resonance are also used in the piece. The animal recordings are taken
from Macaulay Library (http://macaulaylibrary.org/) while the climate change
data from RCP Database.
Sound Box is an interactive installation that explores questions of notation
and representation of sonic atmospheres through an in situ graphic mapping
of sounds. A room within the exhibition room, Sound Box â€˜performsâ€™ a distinct
sound environment, out of the juxtaposition of pre-recorded sounds, and the
improvised interactions of users with the materiality of the Boxâ€™s structure.
The installation defines an ambient musical environment, which is conditioned
by the movement of the users on an interactive floor. This immersive sonic
atmosphere is recorded in realtime by a Drawing Device, which allocates and
relocates graphic matter upon a tensioned surface, through the resonance of
the live-fed sound environment. Like a reversed music box, Sound Box performs
the script of its â€˜musicâ€™, out of the interaction of architectural elements,
musical sounds and the improvisations of users.
Holding the increase in global average temperature to well
below 2Â°C above pre-industrial levels and to pursure efforts
to limit temperature increase to 1.5Â° C above pre-industrial
levels, recognizing that this would significantly reduce the
risks and impacts of climate chang.
(Article 2, Paris Agreement, 2015)
How much do we really want to feel the heat if the blanket is extended in
future? Can we prevent it from getting uncomfortable? No more than 2Â°C
– that is the target set by the United Nations in the Paris Climate Agreement.
What does this number mean and how close are we to the threshold? Climato
-logist are assembling huge data sets to describe global mean temperature
change over the last century. The HadCRUT4 global temperature data set com
-piles monthly temperature time series data from 4800 stations across the
world. The data is expressed in deviations from the average temperature between
1961 and 1990. As numbers are often hard to grasp visuliastion of the
data set can help us to literally â€œfeel the heatâ€�. Numer-ous representation have
been developed using computer code and plotting tools. They are the inspiration
behind the World Temperature Data Quilt which aims to bring the data to
life in the real world. Colorful tiles representing the temperature deviation in
each month over the last years form the building blocks of the blanket. Sewn
together the quilt enables us to see connections and better understand climate
history and possible future trends.
o ire = live audio for solo laptop with ambisonic surround sound. Field
recordings, old records, Dictaphone tapes and performance on a Sequential
Circuits Pro One synthesiser become audio data subjected to multiple
stages of dislocation and disruption temporally and spectrally. Sound data
are re-ordered and represented with spatial dynamics – inward/outward,
here/there, through and between. Through improvisation, performance
controllers imprint their data, activating, deactivating, sculpting and shaping
the sounds live as the piece unfolds.
Registrations have been coming in thick and fast for the Data-X Symposium to be held on 1 December, Main Lecture theatre, Edinburgh College of Art (programme below).
Data-X is a University of Edinburgh IS Innovation Fund initiative supported by the Data Lab & ASCUS | Art & Science. It brings together PhD researchers from the arts and sciences to develop collaborative data â€˜installationsâ€™.
To register visit: https://www.eventbrite.com/e/data-x-symposium-tickets-29076676121
10.00 â€“ 10.30: Registration & coffee
10.30 â€“ 10.40: Welcome – Stuart Macdonald (Edina, Data-X Project Manager) & Introduction â€“ Dr Martin Parker (Director of Outreach, Edinburgh College of Art)
10.40 â€“ 11.20: Guest speaker: ASCUS & the ASCUS Lab: catalysts for Artiscience- Dr James Howie (Co-Founder, ASCUS)
Session 1 presentations: Chair â€“ Dr. Rocio von Jungenfeld (School of Engineering & Arts, University of Kent)
Â· 11.20 â€“ 11.35: PUROS Sound Box – Dr Sophia Banou, Dr Christos Kakalis (both School of Architecture & Landscape Architecture, Edinburgh College of Art), Matt Giannotti (Reid School of Music)
Â· 11.35 â€“ 11.50: eTunes – Dr Siraj Sabihuddin (School of Engineering)
Â· 11.50 â€“ 12.05: Inside the black box -Luis Fernando MontaÃ±o (Centre for Synthetic and Systems Biology) & Bohdan Mykhaylyk (School of Chemistry)
Â· 12.05 â€“ 12.20: Wind Gust 42048 â€“ Matt Giannotti (Reid School of Music)
Â· 12.20 â€“ 12.30: Session 1. wrap-up
12.30 â€“ 13.15: Lunch
Session 2 presentations: Chair â€“ Martin Donnelly (Digital Curation Centre)
Â· 13.15 â€“ 13.30: Elegy for Philippines Eagle â€“ Oli Jan (Reid School of Music)
Â· 13.30 â€“ 13.45: Feel the Heat: World Temperature Data Quilt – Nathalie Vladis (Centre for Integrative Physiology) & Julia Zaenker (School of Engineering)
Â· 13.45 â€“ 14.00: o ire – Prof. Nick Fells (School of Culture and Creative Arts, University of Glasgow)
Â· 14.00 â€“ 14.15: Sinterbot – Adela Rabell Montiel (Queenâ€™s Medical Research Institute) & Dr Siraj Sabihuddin (School of Engineering)
Â· 14.15 â€“ 14.25: Session 2. wrap-up
14.25 â€“ 15.05: Guest speaker: FUSION â€“ where art meets neuroscience – Dr Jane Haley (Edinburgh Neurioscience)
15.05 â€“ 15.15: Closing remarks: Stuart Macdonald (Edina, Data-X Project Manager)
Wind Gust 42048 is based on wind data from a buoy in the Atlantic Ocean during a time span of 5 days when the recent Hurricane Matthew passed overhead. The piece is built using a series of recurring motifs which grow in in dynamic and intensity, correlating closely to the intensity of the data from the storm. The musicians will surround the audience from above, and all will walk around, in effort to capture the nature of the chaotic storm interior. The proportions of the piece relate directly to the wind data, and the piece will end as calmly as it began.
Matt Giannotti (Reid school of Music – email@example.com)
Sinterbot â€“ Adela Rabell Montiell & Siraj Sabihuddin
Over the last 50 years, microwave energy has been used for a variety of applications including communication, navigation and drying of food. In the last 20 years, microwaves have revolutionised home cooking. In industry, it is used for wood processing, vulcanisation of rubber, meat tempering and medical therapy. Sintering is the process of compacting and forming a solid mass of material by heat or pressure without melting it into liquid. This is a natural process within minerals. The atoms in the materials diffuse across the boundaries of the particles, fusing them together to create a solid piece.
Conventional heating was used in the past to create solid pieces using metals. Microwave heating has recently become popular for this purpose as it has many advantages such as time and energy savings, rapid heating rates and lower environmental impact. Microwave heating converts electromagnetic energy into thermal energy almost instantaneously and with high efficiency. The use of domestic microwaves can be used to sinter metals. It is well-known that a metal plate should not be used inside a domestic microwave as its use can cause reflection inside and result in overheating of the system. However, metals in their powered form are very good absorbers of electromagnetic energy.
Please do not try this at home!
Inside the Black Box
We as humans believe that everything around us has a cause and a tractable effect. This illusion makes us feel in control of ourselves and our environment. In reality, most systems around us â€“and within usâ€“ are like mysterious black boxes. We cannot look inside them, and we only know what goes in and out. For example, think of a patient as a black box, where a treatment is the input and the health is the output. How much do we trust our intuition about how black boxes respond? When treating real-world problems like a bacterial infection, we must learn how to deal with the box’s behaviour. Otherwise, ill-advised solutions such as self-medication may backfire.
With the aid of mathematics and computers, scientists in many fields can simulate how a black box (i.e. a complex system) transforms any input into an output. This allows us to build predictive models of how the real system would respond.
In ‘Inside the black box’, we simulate a bacterial infection controlled by a hidden circuitry of interacting components. We challenge the audience to control the growing bacterial infection (red light) by interactively administering treatment (green light). In the process, we will collect time-series data about the behaviour of complex systems and test whether human intuition can outsmart intricate black boxes. If played by enough people as a game, data from high scoring simulations could reveal optimal strategies for diagnosis and treatment of real patients.