In the downtown of Helsinki there is a place called Lasipalatsin audio (Glass Palace Square). The place is going to be renovated, and the square too. In the middle of the square there is a tree, which will be cut. A group of artists decided to create a group of works for the tree. I was also asked to participate.
I decided to take photos of the tree, which I would then use as the source for a sound process. In the process the photo is scanned from left to right. The white portion provides date for a group of oscillators, waveforms and filters. The final piece is a result of one of the passes.
AS Long As Possible (ASLAP) is a 1000 year long animated GIF loop. It’s an art project by Juha van Ingen in collaboration with Janne Särkelä. It is the longest GIF in the world. After 1000 years it’ll start again from the beginning.
The starting point in making AS Long As Possible was to make a one extremely long animated GIF loop. ASLAP is made of black frames with a white number indicating the frames position in the loop. There are 48 140 288 frames which change in c.a. 10 minute intervals making the total duration of the loop 1000 years.
The name of ASLAP is hommage to John Cage composition “ORGAN2/ASLSP” (1987) which is played with Halberstad organs for the next 625 years. The abbreviation of Cages composition included and instruction to the performer of the piece: As SLow aS Possible.
The piece called D-A-T/D-A was presented in a group exhibition “ NOT IMPRESSIVE NOT BELIEVABLE ”.
The artists collectively known as KNPSST are Mira Kautto, Alisa Närvänen, Elina Peltonen, Marko Suovula, Janne Särkelä and Pekka Tynkkynen whose backgrounds are in art, clothing design, technology, music, architecture and contemporary dance. The group came together in the summer 2015 at Kone Foundation’s Saari Residence, where their first collaborative project called d-a-t/d-a started.
d-a-t/d-a is a document of an interdisciplinary project rooted in wearable sensor technology. It is a kinetic data installation, which registers physical gestures and movements and translates them into sound and light.
The work gives aural and visual forms to the cycles related to being a human. The pain during the menstruation (dysmenorrhea or painful periods) is intimately highlighted with the help of sound. The interaction between the Earth, Moon and the Sun is experienced by a sonification of their orbital data and their effects on gravity – which pervades the experience of being a habitant of the Earth.
The work was presented as a part of a group exhibition with the theme Cycles, in the framework of AAVE festival of audiovisual arts, in Helsinki.
The work consists of four led strips and four channel audio system. The Sun and the Moon rotate around the visitor. Also, a possibility to participate in the installation is provided by means of a heart rate sensor.
In the installation the orbits of the Sun and the Moon around the Earth have been translated into sound. The cycle of sounds lasts about 50 minutes, which corresponds to about two years. The period was chosen, because the Sun and the Moon happen to be quite close to the same position in the beginning and in the end of the cycle.
Sounds of pain are played at random intervals between 1 – 2 minutes. The Led lights pulses and fades with the same interval.
The audible frequency of the Sun in the installation is a higher octave of its about 11 year long activity cycle. The frequency of the Moon comes from the so called Saros cycle, during which the Moon goes through various cycles related to its orbit. Saros cycle lasts about 18 years in real time. The sound of the Sun in the installation is low and continous, whereas the sound of the moon is higher and pulsating. The length of one pulse is a thousandth of a month. The relationship of the amplitudes of the sounds of the Moon and the Sun corresponds to their tidal force amplitude.
It is possible to participate in the installation. In the middle of the room there’s a pole, on which a green light can be seen. The light shows the place of a pulse sensor. Just beside the sensor there’s a red Led light, which shows the sensed pulses.
The sensor finds the pulse from a finger or a palm, when the body part rests on the sensor. The pressure on the sensor shouldn’t be too hard or too light for it to work consistently. The red led will start to pulse according to your heart rate, when the contact is right.
When six sequential pulses have been detected, a real heart beat sound is played.
The three pieces of Sounds of Calligraphy playlist are the continuation from the Sarana performance at the opening of Viiva & Viiru calligraphy group exhibition in Helsinki, Finland. The pieces are based on a real time process that analyzes the images in three color channels, and some of the oscillator sound waves are derived from the image properties too. The process has 128 oscillators and filters per channel, and they are positioned to the stereo panorama to exactly follow the figures. The resulting music is thus a true voyage across the image.
The sonification process was realized with Max/MSP/Jitter. A very warm thanks to the Viiva & Viiru group for their openness to the abstract.
A mechatronic art decoration for Aortta Party by Hytky. Max/MSP listened for a beat and triggered Arduino, which in turn controlled an electric motor. The motor had a rod attached to it, and a cardboard heart was taped to the tip of the rod. The position of the rod was monitored with a hall sensor. Heart struck against a thin veil, which was illuminated with red light from behind.
AMBIENT² interprets the sound landscape of Harakka island in Helsinki into music into another language through a computer-abled generative process. We are born into a sound landscape to which we get used to through our lives and we take it as the familiar foundation, compared to which everything is strange and peculiar. It is about interpretation. When the same sound landscape is repeated as music something weird and unexpected is revealed. Video of the interactive sound installation.
Music created by the AMBIENT² does not strive to fit its tones into any existing note system. It re-creates the frequencies of the source material by synthetic instruments as a spectral musical application. The final result is a musical work which never quite exactly repeats itself. The composer is the observed space which creates its own tonal system. The music thus created is not aleatory but determined by its own rules.
The basic form of the music is defined by ambient aesthetics, and in this case ambient sound creates the ambient music and the borders of music and the world are seamlessly intertwined.
The ambient piece acted as the musical introduction to a discussion between photographer Victoria Schultz, psychoanalyst Heikki Majava and sound explorer (Me). The topic of the discussion was My Body and I – Synchronic Image, Vision and Sound.
The pitches of the piece were controlled with light dependent resistors. I had built two simple enclosures for the resistors, which I held in my hands. In a slow dance I moved about and explored the light and dark areas of the gallery, Laterna Magica, where the event was held.
Victoria’s photos were on display in the gallery, and I thought that light controlled music would bridge the media and weave the topic together. I had built a light controlled audio device a few years ago, which was perfect for the idea.
It has two oscillators, which can be independently controlled. I connected the stereo out of the device to a laptop, in which a modular sound processing software turned the pitches of the oscillators into synthesizer control messages. The other channel was used for texture and the other had more soloish character.
Ääniviidakko (Jungle of Sound) is a generative and synthetic rainforest/jungle soundscape installation. It was created for the chill out space of Manaus techno party, held in Helsinki. It was not possible to sonically separate the chill out space very well from the main stage, and it would have been futile to have a DJ there.
The totality consists of eight separate layers, which are in constant tranformation and rhythmically independend of each other. No natural sounds have been used as the source. A few irrelevant rhythmical and melodious elements are driven through a multitude of effects, which create a jungle-like soundscape, which never repeats itself.
The cycles are quite long, and the soundscape goes through impressions of night and day, relaxation and activity. On top of that stochastic midi generators drive a few software synthesizers, which simulate wind and water-like noises.
A collage of real jungle and rainforest sounds is used as a secondary source to liven up the synthetic main composition. These are mainly birds, which at times rise up to be heard.
Soiva kaupunki is an interactive sound installation, which utilizes contact microphones to reveal the hidden properties of the resonant urban trash (Soiva kaupunki = Resonant city). The recording is from year 2002 installation.
The objects are gathered in an intuitive and improvised fashion, and hung by wires to make them float freely. Microphones are attached to the objects and their output is fed through effects processors in order to turn the characteristic sound of each object into an ever changing ambient collage, to which all the participants contribute by manipulating the objects.
2002 Lahden taidelauantai
2007 Olohuone, Turku