Difference between revisions of "Aargh report"

Revision as of 12:17, 23 November 2015

In 2015 I was working as a resident at Overtoon, a platform for research, production and distribution of sound art and sound-based installation art. During my residency I explored the possibilities to develop a site specific work site for the 9th floor of the office building Overtoon was occupying. This particular building stands high and free in the city center of Brussels. Wind has a strong impact on it. The offices are drafty spaces when you open them up on both sides.
Can the energy created by the wind be used as a force or input to generate sound, which sounds remotely like speech. That's the focus of this research.

Tijdens een vorig project dat ik realiseerde in diezelfde ruimte, viel me op

hoe onderhevig het gebouw is aan de invloed van wind. Dit gebouw in centrum Brussel steekt met zijn 12 verdiepingen hoog uit boven de omringende architectuur. De wind heeft vrij spel op dit gebouw en dat heeft een impact die ook binnenin voelbaar is. Tijdens mijn residentie bij overtoon wil ik de mogelijkheid onderzoeken om die energie te meten en/of te gebruiken in een in situ klankinstallatie.

Aargh is an exploration into the mechanics of speech. Inspired by the famous Wolfgang Von Kempelen, Aargh explores the possibilities to create a site specific sound installation for the 9th floor of the Overtoon office building. This particular building stands high and free in the city center of Brussels. Wind has a strong impact on it. The offices are drafty spaces when you open them up on both sides. Can the energy created by the wind be used as a force or input to generate sound, which sounds remotely like speech. That's the focus of this research.

The Overtoon office building form the outside

11th Floor
Airflow
High-low pressure

This page documents and collect all kinds of information about my project.

Voicing

Here I'm collecting information about what I call voicing : different experiments in which I try to copy the function of the vocal cords. I'm exploring different tracks. Musical instruments in which all different kind reeds --> Martin riches installation speaking machines in which he pretty myuch copied the principles of organ techniques. reed pipes.

Wind organs and the likes

Cavity resonators

One the first experiment was based on information I found on Godfried Willems Raes' logosfoundation. For his work Whisper he used cavity resonators to produce sound. These small cavities with orifices on both sides are somehow like Helmholtz resonators. Because they can be driven with air at low pressure, I thought it might be an interesting solution to produce sound driven by the wind working on the facade of the building.

I constructed several shapes based on information I found on his site. His works are always super well documented.

This is a first batch I made.

Cavity resonator 00.jpg

first batch of cavity resonators
Cavity resonator 01.jpg

first batch of cavity resonators

This is a second set I made with 3D printed shafts/cylinders. The closing lids I made out of piezo elements
In the end I was not really happy with the sound produced, they have a lot of overtones, ...

Cavity resonators.jpg

Cavity resonators
Cavity resonators

These work really well if you blow them or even better suck air through. I had them placed on the building. Still they need pretty strong wind to have them produce sound loud enough.

In a second setup I have them mounted into the floor.

Whistle

Something along the line of the cavity resonators, I guess. Air when forced through a ribbed tube, produces a whistling sound. I noticed while inflating an air bed last summer, aargh. And I guess it is the same thing which makes duck vents sound as well --> change the shape of the ribbed surface in these vents and generate sound?

Then I was thinking about the way the, shape of the and how thismight be of influence on speech, production. There are different ways of http://atkn.org/wiki/index.php/Aargh

When talking about phonation there are different ways voiceless --> no vibration of the vocal folds breathy voice --> vocal folds much more open to let more air pass modal voice --> normal use of vocal folds vibrating

https://sites.google.com/site/gunesnakib/research-interest/aeroacoustics/aeroacoustics-of-corrugated-pipes

These are small objects with ribbed inner surface.

Reed

In this particular setup I'm experimenting with different types of reeds placed vertical in front of a slotted opening. I made a construction so I could create a variable slotted opening at the and of a 100 mm PVC tube which is being put under pressure by a simple ventilator. A small strip of material is held in front of the opening. By putting tension on the strip, vibrations and frequencies change. As a reed I used different materials, like aluminium, simple Tessa tape, Wood Veneer, and a strip of flexible 3d Printed material, Ninjaflex.

mount for PVC tubing
MDF panels to create variable slot
Mount for variable types of reed
complete set with wood veneer reed

different materials
aluminium 1mm, shaped reed
flexible 0.3 mm 3D printed strips

These are some first recordings. They are quiet noisy. You still strongly hear the sound of the ventilator blowing.

This is a different construction, to be mounted directly onto a small slot made into the PVC tubing and to test with different lengths of reed for change in frequency.

long slotted
long slotted

Harmonium

A small test with harmonium reeds. Fitted into a small box which can be mounted onto the different vocal tract shapes. I'm not so happy with it, because the sound is so typically associated with the instrument.

Others

Some experiments with different shapes

Printed vocal03.jpg

Resonators

Hermann von Helmholtz

http://www.hps.cam.ac.uk/whipple/explore/acoustics/hermanvonhelmholtz/helmholtzssynthesizer/

Splab

The website Acoustic-Phonetics Demonstrations, from the Arai laboratory explains some of the main principles of acoustic phonetics. I found it really useful.
These are a few experiments with shapes based on information I found on this website. All these objects were 3d printed in grey or white PLA using a makerbot replicator 2.

japanese vowel shapes
CAD design

/O/
/E/
/A/
/I/
/U/

I printed some a lot bigger as well, just to test how this acts on the frequencies and the forming of vowels. The small shapes are normally about 16 cm long. They are in fact a reconstruction of the changing volumes the vocal cavity.

/E/_big
/U/_big

Gunnar Fant

Gunnar Fant was a professor at the Royal Institute of technology in stockholm specialized in the acoustics of the human voice. His Acoustic Theory of Speech Production. (1970) Mouton De Gruyter. ISBN 90-279-1600-4, contains calculations based on X-Ray studies of Russian articulations.

Based on his calculations, I created a second series of shapes.

/O/
/E/
/A/
/iJ/

/O/
/E/
/A/
/iJ/
/U/

Martin Riches

Articulating finnish vowels

http://www.helsinki.fi/puhetieteet/projektit/Finnish_Phonetics/vokaalit_eng.htm

These 3D printed shapes are based upon MRI scans taken from a finnish person prounouncing finnish vowels, a , e ,i, o u, y, ae, oe. For these prints I used Bronze filament from colorfabb, which I treated with to give the material a verdi gris patina.

/A/
/Y/
/U/
/OE/
/E/
/AE/ unfolded

/A/
/Y/
/U/

Vocaltractlab

Bellow

http://www.mmdigest.com/Gallery/Tech/tremreg.htm

Electronics

Sensors

Modern devices wind sensor rev C :

http://moderndevice.com/product/wind-sensor/
https://github.com/moderndevice/Wind_Sensor

Jeenode

Comparison Matrix of the different jeenode boards : http://jeelabs.net/projects/hardware/wiki/Comparison_Matrix
Jeenode Shop : http://www.digitalsmarties.net/products/jeenode
http://jeelabs.org/tag/jeenode/

Powering the jeenode board : http://jeelabs.org/2010/09/16/meet-the-aa-power-board/ getting started with jeenode : http://jeelabs.org/2013/02/02/dijn-01-introduction/

Programming the jeenode micro V.3 :

The jeenode micro V.3 has a ATtiny84 microcontroller on board.
This ATtiny84 microcrontroller needs an ISP programmer. This is a piece of hardware to load programs onto the microcontroller.
Good thing is you can set up an arduino board as an ISP programmer:
-http://arduino.cc/en/Tutorial/ArduinoISP

The steps to take are :

Install the latest version of arduino IDE Make a ISP programmer from a regular arduino board. --> loading the ArduinoISP sketch onto the arduino. http://highlowtech.org/?p=1706 Connect the jeenode micro V.3 to the arduino board. -- check here for pin layout http://highlowtech.org/?p=1695

-http://jeelabs.org/2013/03/20/programming-the-jnu-again/

Inspiration

From the book : Present Shock by Douglas Rushkoff

"People have spent a great part of the 20th century obsessed with the future. We were looking forward. The rise of the digital age held the promise that the future would bring change of unprecedent magnitude, invigorated by new technologies. Computer speeds would double each year, and along with that, it seemed, anything would follow.
The future has arrived. The future is now. Our society has reoriented itself to the present moment. We are no longer leaning forwards towards the future but living in an eternal present, where everything is always on and happening in real time. It's not a mere speeding up, however much our lifestyles and technologies have accelerate the rate at which we attempt to do things. It's more of a diminishment of anything that isn't happening right now - and the onslaught of everything that supposedly is.

Yet this now is an elusive goal that we can never quite search. And the dissonance between our digital selves and our analog bodies has thrown us into a new state of anxiety: present shock.

As a result , our culture becomes an entropic, static hum of everybody trying to capture the slipping moment.

Luigi Russolo, The art of noises

Rushkoff is referring to the 2 decennia before the change of the century. The rise of the digital era. But this same view of a future, energized by new technologies, is what drove the futurist at the end of the industrial revolution.

roars
claps
noises of falling water
driving noises
bellows

whistles
snores
snorts

whispers
mutterings
rustlings
grumbles
grunts
gurgles

shrill sounds
cracks
buzzings
jingles
shuffles

percussive noises using:
metal
wood
skin
stone
baked earth
...

animal and human voices:
shouts
moans
screams
laughter
rattling
sobs

Russola's intonarumori which hold energy potential power promise <---> view of rushkoff about influence of technology on modern day society.<--> what would this sound like now?

Russolo categories of noises contain human like sounds --> the idea that they could be be mechanically reproduced by machines --> Von kempelen. <--> intonarumori

Speaking machine by Von Kempelen

This 18th century's Austrian inventor Wolfgang Von Kempelen is probably most famous for his invention of the mechanical Turk, a chess playing automaton, a far reaching and elaborate hoax. The story goes that he invented the mechanical turk to impress Maria Theresia, Empress of Austria, to give him the money to work on a manual operated speech synthesizer. While it took him 6 months to finish the mechanical Turk, he spent almost 20 years to develop a functional model which he considered a representational model of the human vocal tract.

However primitive this might have been --> model can only reproduce a few words --> right approach in building a resonator copying the shape of mouth and nose --> not the larynx which produces different sounds.

http://en.wikipedia.org/wiki/File:Kempelen_Speakingmachine.JPG

Jean Baudrillard, America

"There can be no silence up in the mountains, since their very contours roar. And for there to be silence, time itself has to attain a sort of horizontality; there has to be no echo of time in the future, but simply a sliding of geological strata one upon the other giving out nothing more than a fossil murmur” [America, Jean Baudrillard]

Pierre Huyghe

site specific installation for documenta kassel in which fiction and reality seem to blend, artefact and natural artefact and nature

baudrillard <--> search for sideral

The individual's ability to get a handle on the present - to experience duration, to resist the condition of time as product, ...

A time negotiated in keeping with external constraints. A fiction extended into reality. An alternate coding of temporal practice. ....

Mechanisms for reclaiming time, as it is live for the individual

The agency of the individual by working through the infinite interpretations and folds of reality that are possible at every moment, p 2 - A fiction extended into reality. p1

Snippets

Winds hitting the building and will cause pressure on one side and suction or a vacuum on the other. Depending on the direction of the wind. I would like to use this energy and forces of the winds which will have it's effects on the interior...

This is the new now. Our society has reoriented itself to the present moment. Everything is live, real time and always on. It's not a mere speeding up, however much our lifestyles and technologies have accelerate the rate at which we attempt to do things. It's more of a diminishment of anything that isn't happening right now - and the onslaught of everything that supposedly is.

People spent the twentieth century obsessed with the future. We created technologies that would help connect us faster, gather news, map the planet, compile knowledge, and connect with anyone, at anytime. We strove for an instaneaous network where time and space could be compressed. Well, the future's arrived. We live in a continuous now enabled by twitter, email and the so-called realtime technological shift, Yet this now is an elusive goal that we can never quite search. And the dissonance between our digital selves and our analog bodies has thrown us into a new state of anxiety: present shock.

As a result , our culture becomes an entropic, static hum of everybody trying to capture the slipping moment.

when things begin accelerating wildly out of control, sometimes patience is the only answer. press pause..

instead of cultural comparison the dessert offered an absolute renunciation or sweeping away of culture

People spent the twentieth century obsessed with the future.

The individual's ability to get a handle on the present - to experience duration, to resist the condition of time as product, ...

A time negotiated in keeping with external constraints. A fiction extended into reality. An alternate coding of temporal practice. ....

Mechanisms for reclaiming time, as it is live for the individual

Tijdens mijn residentie bij overtoon, wil ik een in situ werk ontwikkelen voor het torengebouw waar overtoon gevestigd is. Meer specifiek voor de 11de verdieping. Deze oude kantoorruimte wordt door het collectief W.O.L.K.E. als tentoonstellingsruimte beschikbaar gesteld. Tijdens een vorig project dat ik realiseerde in deze ruimte, viel me op hoe bijzonder onderhevig deze is aan de invloed van wind op het gebouw. Horizontale wind veroorzaakt vóór het gebouw een overdruk en naast, boven en achter het gebouw een onderdruk. Tijdens mijn residentie bij overtoon wil ik graag de mogelijkheid onderzoeken om die energie te meten en/of te gebruiken in een in situ klankinstallatie.

Centraal in dit nieuwe werk staan tijd, perceptie en de beleving van tijd. Thema’s die ook aan bod kwamen in mijn voorgaande installaties. Ik wil die thema’s verder uitdiepen in deze nieuwe installatie en vind hiervoor mijn inspiratie in onder meer :

Douglas Rushkoff's boek : “Present Shock”

Volgens de Amerikaanse schrijver Douglas Rushkoff heeft onze maatschappij zich onder invloed van de technologische ontwikkeling volledig geheroriënteerd naar het nu. We leven in ‘eeuwig nu’. We verkeren in een soort van ‘Present shock’ waarbij we krampachtig trachten het nu te beleven.

The Art of noises, futuristisch manifest door Luigi Russolo,

Wat Rushkoff beschrijft staat in een schril contrast met de ideologisch visie die Russolo in zijn futuristisch manifest verwoordde. De vraag stelt zich hoe zijn Intonarumori vandaag de dag zouden klinken, 100 jaar na het schrijven van zijn manifest.

Wolfgang Von Kempelen

Opvallend aan Russolo’s manifest, is dat hij bij het categoriseren van nieuwe klanken, ook menselijke klanken een plaats geeft. Hij was er dus wel degelijk van overtuigd dat hij aan de hand van technologie menselijke klank kon reproduceren. De 18de eeuwse uitvinder Wolfgang Von Kempelen was een van de eerste die een sprekende machine ontwikkelde. Een toestel dat via een blaasbalg en een riet enkele woorden kon vormen. Hoe eenvoudig zijn toestel ook was, Von Kempelen toonde er de principes van de die, en legde hiermee de basis voor synthetische spraak.

Untilled, Pierre Huyghe’s, Documenta 2012 Kassel

Tijd is een weerkerende thema in het werk van de Franse kunstenaar Pierre Huyghe. In veel van zijn projecten onderzoekt hij de mogelijkheid om als individu vat te krijgen op het nu. Om tijd opnieuw te beleven of ervaren als ‘duur’, onafhankelijk van enige conditie van tijd als product. Zijn installaties zijn mechanismen om tijd terug op te eisen.

Jean Baudrillard’s boek, America

“There can be no silence up in the mountains, since their very contours roar. And for there to be silence, time itself has to attain a sort of horizontality; there has to be no echo of time in the future, but simply a sliding of geological strata one upon the other giving out nothing more than a fossil murmur”

What follows are a few things which inspire me. A few ideas about the relation between technology, art, time, sound,... which I think are interesting to explore during my residency at Overtoon.

Douglas Rushkoff's 2012 Book, Present Shock,
The Art of noises, by Luigi Russolo,
A Speaking Machine by 18th century inventor Wolfgang Von Kempelen
A quote by Baudrillard
Untilled, Pierre Huyghe's contribution to Documenta Kassel