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Fig. 6. O. Evan Lewis, Tall Boy,wood, aluminum and steel, 20 x 9 x 9 ft, 1989. Because the wind potentially blows from any direction, the vane revolves on its mount and can lean over in any direction. This form of motion is achieved mechanicallv by means of a gimbal or universal joint, two axles fixed at right angles, like the mount for a compass on a ship. In the process of building and testing the sculpture, I found that both the bracket from which the big bell hangs and the mount for the clapper underneath must be gimbals. Hanging the bell this way was necessary for balancing the sculpture so that it would alwavs return 10 an upright position. Additionallv , the bell can be adjusted up or down to change the balance from delicate to stiff, depending on the prevailing conditions. In Chicago one of the biggest challenges is to design a piece that will function on a 'nice' day (with winds 10-20 mph), and that can survive extremes (winds gusting to 70 mph). My abilitv as an engineer has been honed hv the school of trial and error, and 82 Abvnact-, this piece has required a period of field testing to correct the unforeseen problems. The result of this project is an instrument that peals, dings and bongs according to the weather conditions. The frequency and magnitude of the sounds produced are random, as only nature can prescribe. The sculpture remains ever vigilant, responding to the wind, performing a mechanical song and dance that ceases only for the calm at night or of a hazy still day. Wind-sound sculpture is truly fourdimensional work that provides a contemplative experience that can be subtle and profound. My goal is to develop these works, allowing for varied experiences and combinations that create a wind-sound orchestra. GARBAGE Robert Mulder, LumiArt Experimental Audio-Visual Studio, 788 Cedarwood Drive, Kingston, Ontario K7P IM7, Canada Kristi Allik, School of Music, Queens University, Kingston, Ontario K7L 3N6, Canada Received 28 Februars 1990. Acceptedfor publication IYy Raga F Malina. For the last two years we have been working with an Intelligent Interactive Audio-Visual System, a hardware/ software system designed to be used in live stage performances [1]. In the proposed work, Garbage, we intend to utilize this system for a kinetic interactive installation. Although the proposal outlining Garbage was accepted by several electronic arts competitions around the world, the work has not yet been completed, mainlv due to lack of funding. Garbage will give gallery visitors the means to create harmonious visual and musical expressions through the careful manipulation of valueless objects . It will confront the participant with the dilemma of generating unwanted by-products, while attempting to create a specific entity. The work will soften the viewer/performer/artist boundary distinction, putting much of the creative responsibility hack in the hands of the observer/ manipulator. (;arbage is designed to illustrate this process in a benign and mildly humorous fashion. The modus operandi of the piece is to put the individual (or better, groups of individuals ) in an environment in which their impulsive, uncoordinated behavior will generate both wanted and unwanted results. The piece will be installed in a darkened gallery, which will have suspended , motorized objects ('objectscreens ') installed in the rear area. These large, white foam-board objects are the generating force for this kinetic audio-visual installation. The object-screen will be prepared with special reflective patches, so that independent movement and relative position will be detected by a video camera. This signal is sent via a LIVE! (A-Squared) real-time digitizer to the Amiga (Commodore) control/video computer. The Mandala (Very Vivid) software , a video sequencing package, will be used as a computer graphics sequencer, basic MIDI (musical information digital interface) note generator and e1ectrosonic multi-image controller . The latter unit will be used to drive the slide projectors, positioning motors, and switching functions. Several simultaneously projected slides (containing abstracted 'garbage ' images of all sorts) will illuminate the object-screen, transforming the simple angular forms into fantastic environments. Opposite, and facing away from the sculptural screen. is a video monitor connected to the video/control computer. On this...

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
p. 82
Launched on MUSE
2017-01-04
Open Access
No
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