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Graduationroelvandoorn2009

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WIKI for the graduation project of Roel van Doorn

Graduation Proposal

In the last year of my study, Composition and Technology, I will work on my graduation project. In 5 months, I will have to creat my own graduation project with a practical outcome such as a performance, exposition or other form of presentation.

Cover of the original L'Arte dei Rumori

This WIKI will be the place where I will place my research findings and other interesting stuff regarding my graduation project. To get everything in one place where I can also keep a log of my findings. My graduation proposal is this:

Is it possible to rebuild the intonarumori, and make similar instruments situated in the context of current technological advancements?


First of all: the Intonarumori where instruments designed and developed by Luigi Russolo. He was a composer and painter involved in the Futurist art movement in Italy in the beginning of the 20th century. In his 'The Art of Noises' he explains his wish or rather demand that there should be more possibilities to make sound than the instruments in a basic orchestra could offer at the time. To achieve this goal, he developed several instruments, the so-called Intonarumori, to make the sounds he wished to hear instead of the (in his opinion) limited 'normal' instruments.

For my graduation project I will try te make replicas of several of these Intonarumori. Also, I will try to make instruments made in our time, the 21st century. These instruments will have a more conceptual approach to the theory of Luigi Russolo. At this moment I do not know exactly what these newer instruments will be, but I will have to come up with some ideas soon.


Intonarumori

One of the first things I need to research is the construction of the replicas. First of all, in 'The Art of Noises', Russolo talks about six different categories for which he is making his instruments:

  1. Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms
  2. Whistling, Hissing, Puffing
  3. Whispers, Murmurs, Mumbling, Muttering, Gurgling
  4. Screeching, Creaking, Rustling, Humming, Crackling, Rubbing
  5. Noises obtained by beating on metals, woods, skins, stones, pottery, etc.
  6. Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs
Picture of the intonarumori, 1919

Russolo made 27 instruments in these 6 categories that we know of. The instruments were all lost, or destroyed during WWII. Initially, I will try to rebuild an instrument from every category, resulting in 6 instruments. There are some blueprints and patenst from Russolo online, but I have already looked around for similar projects so I can check how other people have approached this design process. After I have my plan for the construction of the 'old' instruments, I will try to make an abstraction of the old 'The Art of Noises', in which I will try to situate it in the 21st century. Afterwards, I will design 6 new instruments/installations. These 6 new instruments will complement, criticize, juxtapose, or have another relation to the original Intonarumori. I will try to have an exposition for these installations in September. An original recording can be heard here. Also, I discovered that there is a cd which can be ordered at www.bol.com which I immediately have done. I wil receive the CD in a couple of weeks, and it will be useful as a sound resource.



Similar projects

Of course I am not the first one with this idea, so I have looked for similar projects on the internet and have found some very useful information.

MART

Some of the replicas built by Pietro Verardo

First of all, somewhere in 2006 there was an exhibition about Futurism in the Mart, Museo d'arte moderna e contemporanea di Trento e Rovereto, in Italy. There were also some replicas of the Intonarumori, built by Pietro Verardo. The idea was that people could interact with the instruments, but this was eventually not possible since people had damaged the instruments during the first day of the exposition.


Sound and Light Exhibition Paris

Replica2.jpg

Also, the project was exhibited in Paris, at the Sound and Light exposition in 2004. At this moment I am not sure if those are the same instruments as in the Mart, or that they are different. From the looks of it they could be the same and I will contact the writer of this article to get more information. The project these people worked on was a physical model based on the original intonarumori. Although this is not exactly my main interest at this moment, it still serves as a welcome resource for my research. I also sent a mail to one of the people involved in this project to ask about the intonarumori they used. I assumed that these were the same as exhibited in the MART, built by Pietro Verardo. A response mail confirmed this assumption.


Wessel Westerveld

Intonarumori in action

Recently I discussed my graduation ideas with one of my co-students, and he said he had seen someone in the Netherlands who had done the same (how original I am...;-)). The only thing he remembered was that he had seen a concert with the intonarumori in Leiden, the Netherlands. With the help of google I came across this site and found out that Wessel Westerveld, a dutch installation artist, rebuilt the intonarumori as well. I have sent him a mail with questions about his project and his design process and resources and have had some contact with him about it. I have sent him my research findings and he replied that I had some good links to begin with. So I think at this moment I have enough information to begin the construction of the intonarumori. I will need to begin with the construction soon since this will probably take a lot of time.


Brainstorm sessions

After the first appointment with Jorrit, my graduation tutor, things are becoming more clear already. Since the original intonarumori are already rebuilt, especially since it happened last year by a Dutch guy (what are the odds), the urgency of remaking 6 intonarumori in all different sound classes maybe is too much. It will take a lot of time, and will not be as exclusive as I had hoped in the beginning of my graduation proposal.

Since the main focus will not be on the replicas of 6 intonarumori, I will have to give more attention to my own interpretation (and indeed my graduation proposal) of the intonarumori based in our own time, given our technological advancements since the beginning of the 1900s. To get more grip on the concept of the intonarumori and its context, I have done a couple of brainstorm sessions to crystallize the ideas that are floating in my head. These are the brainstorm pages (I did them in Dutch...which is a bit of a shame actually):

A PDF file with the brainstorm session in presentation format can be downloaded here

Conclusions based on first brainstorm sessions

I want to make installations which have a different approach to the spectator and the instrument. Since I want all persons to feel like they can interact with the installation I want to use transparent ways of interaction, probably using common interaction interfaces (I can see a bike as an interaction interface for instance) so the spectators are not hesitant to interact with the installations. This is a big flaw in a lot of interactive art I have seen over the last years: there is interaction intended, but the regular visitor does not have any clue about these ways of interacting such as with a touchscreen. Also, Russolo presented his intonarumori as real instruments, so he designed them to have control over certain sounds which he could use in a composition. For me this is not the case, as I will present the installations as interactive sound objects, not as instruments to be used in compositions.

I have a first concept about the use of sounds as well. Russolo states in his Art of Noises:

Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.

I strongly disagree with this theory to be honest, since in my opinion there is no better noise found than in the earth noises. To strengthen his theory he simply overlooks the noises of nature: earthquakes, hurricanes, storms, avalanches and waterfalls. I think these 'natural' noises will be my source of sound instead of the machine noise which he glorifies. I believe that whatever we try to create, there is nothing as strong and diverse as nature, both visually and auditive. Also, it is interesting that in the world's current technological state, it is possible to record these sounds of nature. Therefor the exceptional can be made controllable.

With these conclusions I will begin a second brainstorm session, to converge more toward my final idea. I will need the next couple of weeks to really focus on my concept, so I can begin building my installations soon.


Inspirational projects and objects

I also did some research to different sites I think are interesting for my project, since they cover different aspects of the concept which I am working on such as sound, space, time and control.

Instruments and interaction

  • Bikelophone: a bike transformed into a music instrument
  • Bubble organ: an organ made by all kinds of recycled materials, which works with water as a controller
  • Frank Zappa bicycle: Frank Zappa playing a bicycle as an instrument at the Steve Allen Show
  • Fire organ: an organ which is controlled by thermal input
  • Optivideotone: Theremin like instrument which is controlled by tape input
  • Weather harp: an instrument which is played by the weather, in this case wind
  • Sea organ: an organ which is part of the architecture at Croatia, it plays tones using the waves of the sea
  • Playing the building: an interactive installation by David Byrne which uses an organ interface to play a whole building using cables and mechanical devices

Sounds, time and space

  • Soundtrack: here you can listen to recordings while checking the GPS position on google maps. A virtual walk through different cities
  • Wild Sanctuary: a google maps integrated sounds site, in which you can listen to different field recordings at wildlife locations all over the world




A change of direction

A couple of weeks ago I was contacted by RNW, a Dutch concept bureau involved in different creative projects in Rotterdam. I worked with them last year on one of my assignments, a multidisciplinary installation which Cornelie Samsom and I designed for the replanning of a public area near the subwaystation of Slinge Rotterdam. This year in august, they will organise a new festival in Rotterdam, combining art, literature, performance in a two day festival in the Vroesenpark in Rotterdam. They contacted me to talk about a possible collaboration, since they thought it would be nice to have a sound installation or similar project as well at this festival. Since august is also the time of my graduation, I think it is a very nice opportunity to combine my graduation and this possible assignment. Then I will have an exposition space (otherwise I need to arrange this myself) which is actually a real festival! But my initial graduation proposal needs to be changed in order to fit in the context of this festival. Since it is an outdoor festival, and the installations will be built in an outside environment, there are some thing to take into consideration, such as electricity, possible vandalism etcetera.

Alternative concept

Since the whole context of the project may be different (if all works out) I need to redefine my graduation proposal and possibly also my supportive narrative. If all works out I will need a new concept which is based on the old one but placed int he new context of the festival. This is the concept I have sent RNW to communicate to their organisation partner Mariska Verhulst:

The design and production of sound installation to be placed during the Duizel festival, conceptually and technically inspired by the intonarumori of Luigi Russolo.


This concept includes a couple of terms (indicated by myself):

  • sound has to be produced in a mechanical way, so I will not use any electronic power
  • influence of the weather will be a force to 'play' the instruments, such as the wind. Maybe in combination with human interactivity
  • the sounds which are made will add multiple sound layers to the park, increasing the auditive experience of the visitors
  • a couple of places in the park will be transformed in this way
  • development and process will be my graduation project


So the intonarumori will still be the primary inspiration for the development of my new installations, since I believe that the mechanics and the idea behind it still very strong and concrete, and can function as a nice inspiration/fundament of my own designs. To get a more specific idea about the possible sound that can be produced and the correcpoding techniques, I made an appointment to go to the place where Wessels intonarumori are being kept, in Valkenburg. I will make recordings and photographs there, to serve as inspiration for my designs. Also, I already made some sketches as first ideas.

First new ideas for the Duizel festival

Click here to download the ideas in PDF format.

Second ideas session

Click here to download the ideas in PDF format.

Research in the "Klankenbos" (Soundforest) in Neerpelt

Map of the soundforest with the different installations

Since I need to have an idea about the context of sound installations in open space, I thought it would be a good idea to visit the Klankenbos (Soundforest) in Neerpelt, Belgium. This is a collection of permanent sound installations in the open air, which is unique in Europe. I went there to find out how these artists were using sound in their installations, since the context is comparable with the context of the festival which I will design my installations for. Also, I might find some interesting artists to contact for more information about their installations to the benefit of my research. I found a full catalogue with descriptions of the different installations, as well as the conceptualisations from the artists.

Analysis of the installations

Het geheim van Horst (Horst's Secret)
Geheim van Horst
  • Mechanical devices attached to tree trunk imitating woodpeckers
  • Analysis and reproduction of different woodpecker rythms
  • "Hidden" installation: people sitting on the bench are involuntary listeners
  • A "cultural intervention"
  • Sounds inspired by tha actual location of the installation, i.e. the forest
  • Central control is done by a sequencer that can vary speed, rests and rythm




Houses of Sound
Houses of Sound
  • Two rusty houses on the side of a water stream in the forest
  • Houses serve as speakers, resonating by themselves
  • Wires connected to speakers and houses
  • Microphones pick up forest sounds, and sine waves also influence the wires
  • Modified sound is played "through" the houses
  • Different electronic techniques to process sounds (quite unclear)




Konversation
Konversation
  • Different groups of red "alien" objects in the forest
  • Interactive objects
  • Moving towards a red box results in changing sound
  • Every box has its own sound in 3 different categories
  • Visual feedback provided by digital scrambled numbers
  • Movie of the installation can be found here




Springtime in a Small Town
Springtime in a Small Town
  • A construction made of stacked up crates
  • Crates are connected to eachother using springs
  • Moving towards the installation activates it
  • Complex system of vibrations
  • Sound is only mechanical, so it's made by the crates and springs
  • Movie of the installation can be found here





Kanariestudio (Canary Studio)
Canary Studio
  • A canary birdhouse with live canaries in it
  • In the birdhouse there are several microphones
  • Sound from the birds gets processed (filtered etcetera) and sent to speakers outside the birdhouse
  • Around 16 speakers attached to the birdhouse, each with its own sounds
  • It was unclear if the speakers were working at all when I visited the installation
  • Movie of the installation can be found here




Box 30/70
Box 30/70
  • A metal container broadcasts sounds picked up by microphones
  • The microphones pick up sounds from the road which is at the border of the forest
  • Sounds from the road, such as passing cars and other environmental sounds, are processed by different processes
  • Also, additional sound from the "Alphabet of Sounds" are used
  • Mix of environmental sounds and additional sounds, resulting in a "rumbling" soundscape
  • Movie of the installation can be found here




Oorsprong (Origin)
Oorsprong
  • A huge metal tube
  • Entering the tube and closing the door activates installation
  • Big fan blows wind in the tube, which acts as a big flute
  • Spectator is inside the flute, hearing a very low tone
  • At different places inside the tube different parts of the tone can be heard and felt
  • A certain point in the tube has the origin (Oorsprong) of the tone
  • Movie of the installation can be found here



Tacet
Tacet
  • A glass box in the middle of the forest
  • You can enter the box through an underground tunnel
  • Entering the box, you experience complete silence
  • No sound used, instead use of silence
  • Experience of the audio visual disturbance of complete silence inside a forest, which is normally abundant in sound
  • Indirectly inspired by the controversial composition 4’33’’ by John Cage




Wind Zylinder
Wind Zylinder
  • A big metal disc hanging in the trees
  • The wind influences the rotation of the disc
  • Kinetic sound sculpture
  • No electronics used
  • Rotation of the device will result in different sounds
  • At the moment of my visit, there was no sound at all due to the lack of wind






Selection of idea(s)

In order to get more focus and grip on my ideas, I need to make a small analaysis of the ideas I have so far. Since I need to make a budget for the project to present to the organisers it is very important that I do this. Some ideas will not make it, and others will so I can focus my attention on the conceptualization of these ones. My sister is quite familiar with the construction of these kinds of budgets and since it is new for me I have worked together with her on the selection and budget process.

Selection matrix

To make the selection of the ideas which I want to work out more regulated, I am going to make use of a little matrix with a couple of factors which will be important for the idea. All of these factors then get a rating, ranging from --, - , + to ++. These factors are:

  • Possibility to produce: the possibility to actually produce the idea. For each idea I can make an estimation of this possibility given construction, size, use of materials etcetera.
  • Sound possibilities: this argument is about the possibilities to make different sounds with the idea. Some ideas have a more fixed way to make the sound, others are quite flexible in this aspect.
  • Probability of functioning: if the idea is produced, how big will the chance be that it wil function as I intended it to do? Since some of the designs work with wind-powered mechanisms, this is an important parameter to check.
  • Connection initial concept: I have made a change of direction since the context of the festival is different than the initial concept I had when I began my graduation. For me it is still important to check if there is any connection left to my initial concept. I prefer that it has, otherwise it is just a funny idea without conceptual connection to anything.
  • Vandal proof: the installation will be outside in a setting where everyone can hear and see it, and maybe use it. But I will need to be careful about the unintentional use of the installation, since some people will try to vandalize it.
  • Risks: possible problems/additional risks which I need to be aware of. Some ideas are not very detailed yet, but have certain risks which I need to take into account. If so, it is mentioned in this bar.
  • Price per piece: this is an indication of a price per piece of idea. Since some ideas have one element which is repeated in the overall installation I need to make an indication of the price per element first.
  • Number of pieces: amount of elements that I think is necessary to really embody my concept. Some ideas are just one installation, but others have as mentioned before more elements in it.
  • Total price indication: last but not least, I can calculate the total price indication based on the former two elements. This price will be put in my total budget, which I will pay more attention in the next section.



http://student-kmt.hku.nl/~roel/Jaar%204/Duizel/ideaselectionmatrix.png

Conclusion based on matrix, budget of 3 ideas

The ideas that do not score high enough are marked red, the ones that are okay are marked grey, and the ones which are ready to give more attention to conceptualize are made green. For the green ones, I also made a budget since I need to talk about that soon with the organisation of the festival. This is quite a new thing to me since most of the older projects were funded by our faculty, and not by an external organisation. Therefor I need to communicate this process of selection and budgetting to the organisation. Since this site is public I have not given the budget specicifcs. These are of course private.

You can download a PDF version of the budget presentation (see below) file here



Intonarumori research continues

Since it is still the fundament of my graduation, I have done more research to the intonarumori. The theory behind these instruments and the technical specifications hopefully will still be an inspiration for the sound and technique which I will use in my own sound installation. I have had more contact with Wessel the last month, and he proposed that I go check the replicas he made. These are currently owned by the Veenfabriek. The Veenfabriek is a collective of scientists and artists who are working and thinking together on different projects involving science and are, mostly connected to theater. The replicas of the intonarumori was one of these projects for which the Veenfabriek and Wessel worked together. They had a concert which I mentioned earlier, this concert involved the intonarumori and sirens built by René Bakker. After some contact with René I was able to pay a visit to the hangar used by the Veenfabriek in Valkenburg, the Netherlands.
I was able to 'play' with the 6 replicas. 5 of them were constructed with an open side, so you could see the mechanics going on inside the 'black boxes'. From these 5 I have taken pictures and made some movies and a little analysis of the mechanism and sound used.

Analysis of the replicas

Intona 1
Full view
Detail
  • Medium sized wooden box with crank and lever for spin and string tension
  • Spinning element is a round wooden disc with a smooth edge
  • Rotation of the crank results in rotation of the disc, which exitates the string by friction
  • The string used is a guitar string (metal), with a guitar tune element for fine tuning
  • use of the lever for tension of the string, which is in fact the rough tuning
  • String is attached to a skin, which is placed in a hole with a metal cone for amplification
  • The sound is a constant noise, but with a certain pitch. Bit like filtered noise
  • A movie of this intona can be found here




Intona 2
Full view
Detail
  • Medium sized wooden box, a bit longer than intona 1, with crank and lever for spin and string tension
  • Spinning element is a round wooden disc with a jagged edge
  • Rotation of the crank results in rotation of the disc, which exitates the string by 'plucking' it
  • The string used is a guitar string (metal), with a guitar tune element for fine tuning
  • Use of the lever for tension of the string, which is in fact the rough tuning
  • Again the string is attached to a drum skin, which is placed in a hole with a metal cone for amplification
  • Sound is more of a plucked guitar string. Low rotation and pitch gives a bit of a frog sound
  • A movie of this intona can be found here




Intona 3
Full view


Detail
  • Medium sized wooden box, with crank and lever for spin and string tension
  • Spinning element is a round metal disk which surface touches the string
  • Rotation of the crank results in rotation of the disc, which exitates the string by means of friction
  • The string used is a guitar string (metal), with a guitar tune element for fine tuning
  • Use of the lever for tension of the string, which is in fact the rough tuning
  • Again the string is attached to a drum skin, which is placed in a hole with a metal cone for amplification
  • This intona also has the possibility to push the disc inward, resulting in higher friction and more 'tonal' sound
  • Sound of metal on metal, so a bit more screeching than the other. More variety in sound due to more parameters that can be influenced
  • A movie of this intona can be found here


Intona 4
Full view
Detail
  • Bit bigger sized wooden box, again with crank and lever for rotation and string tension
  • Spinning element is a round metal disk with a jagged edge
  • Rotation of the crank results in rotation of the disc, which exitates the string by means of plucking, much like intona 2
  • The string used is a guitar string (metal), with a guitar tune element for fine tuning
  • Use of the lever for tension of the string, which is in fact the rough tuning
  • Again the string is attached to a drum skin, which is placed in a hole with a metal cone for amplification
  • This intona also has the possibility to push the disc inward, resulting in higher friction and more 'tonal' sound
  • Sound of metal plucking metal, so a bit more high frequent tonal sound
  • A movie of this intona can be found here


Intona 5
Full view
Detail
  • Largest wooden box, again with crank and lever for respectively rotation and string tension
  • Spinning element is a round wooden disc with a smooth edge, much as intona 1
  • Rotation of the crank results in rotation of the disc, which exitates the string by means of friction
  • The string used is a organic string (dried bowel?), with a guitar tune element for fine tuning
  • Use of the lever for tension of the string, which is in fact the rough tuning
  • Again the string is attached to a drum skin, which is placed in a hole with a metal cone for amplification
  • This intona is the biggest one, which can be heard since it has the lowest sound
  • The use of an organic string influences the sound profoundly, it is more muffled than intona 1
  • A movie of this intona can be found here




Meeting with Mariska and Nathan in 'het Vroesenpark'

The chosen spot for the installation

Last week I had a meeting with Mariska and Nathan to get a more detailed idea of the installations I was going to make for the festival. It ws the first time I met Mariska, who is the organiser of the festival. RNW is responsible for the design and promotion of the festival. After talking with them it was obvious that my idea is more specific already, since I had to make some choices in order to make decisions about the place for the installations.
The strongest ideas I had, in my opinion, were the ones which were hung in the trees. Also, the idea of using wind energy is a good one I think, since this has inspired me greatly looking at the other installations (such as the Sea Organ in Croatia). We had to look for a place in the park where there were trees, and also where the wind was blowing. After my first visit to the park I was thinking about a specific spot in the park, but when we were there last week I had to change this idea. First of all there were not enough trees there to really work with, and secondly the wind is completely absent on the spot since it is densely grown with surrounding trees. So we managed to locate a different spot which seemed to be better for my installation.


Concept details

The choice for the sound transport idea is the one I made, since it suits my personal vision, and is best to incorporate in the context of the festival. Since the idea is only one sketch, I have worked on some more detailing of the concept. This way I will get more grip on the whole installation, and can begin constructing soon.


Some more conceptual details for the installation design

At this moment I want to create 6 different wind installations which I will hang in between the trees at the location in het Vroesenpark mentioned above. One of the conceptual things worth focusing on, is the sound that I want to produce. At this moment I want to construct 6 different sound installations (with common shape/form) that all rely on wind energy to produce the sound. The sound they are going to make has to connect to the intonarumori of Luigi Russolo, since I think it is wise to have a connection with my initial concept. The construction of the intonarumori by Wessel have inspired me to think about constructions with drum-skins and strings, so I need to see how to incorporate this in the installations. Every installation I will built has to be connected to one of the 6 mentioned sound categories as described by Luigi Russolo:

  1. Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms
  2. Whistling, Hissing, Puffing
  3. Whispers, Murmurs, Mumbling, Muttering, Gurgling
  4. Screeching, Creaking, Rustling, Humming, Crackling, Rubbing
  5. Noises obtained by beating on metals, woods, skins, stones, pottery, etc.
  6. Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs

Meeting with Kees

I can work on the construction of the installation in a hangar in Amsterdam where my uncle has his construction workspace. He has his own company, they construct al kinds of things so he knows his way around in the technical construction of my installation as well. I paid him a visit to see what he thought about the concept so far, and which construction details I should focus on first. Since I am relatively new in terms of technical construction of the ideas I have, it is important that I check with experts what the issues could become in the production phase of my project.

Feedback on concept

The kinetic installation 'Auf und Ab' by Bernward Frank

I talked with Kees about the concept and there were some parts which he thought would be wise to focus on first. First of all, the wind mechanism will be one of the harder parts of the installation. By coincindence, Kees himself had also been busy on some wind mechanisms since he had a kind of assignment building a kinetic installation for in a garden. One of the inspirations he had was the artist Bernward Frank. This happened to be the person who built the Wind Zylinder which was in 'het Klankenbos'. On his site there are many more installations he built, and he often uses wind energy for his installations. His site can be found here. There are a couple of videos of his installations on his site, and one of them is this one. Other things that I'd have to look into where the tubes and the skin for the drum-like construction.

First production phase

The aluminium tube which I will use for first prototype

After my meeting with Kees I went out to check for materials which I could use in my construction phase. Since the transport part of the installations will be basically the same for every installation I want to make one transport part, and for the sound mechanisms I need to make every part separately since it will be different for each installation.

Kees told me about a sanitation shop in Amsterdam where I could probably find the tubes for the transport part. In my design, these tubes need to be 2-3 meters long and with a diameter of around 10 cm. I want each tube to be a bit different so the installations will not be exact copies of each other. Also, the diameter will have influence on the sound being produced so I can use that as a sound-parameter as well. I found the exact thing I needed, being an aluminium tube which can be stretched to a length of 3 meters and has variable diameters. The price of the tube was €12,75, which fits perfectly in my budget.

Possible wind mechanisms

Of course the other important thing at this moment is to have the windmechanism functioning, so I have looked into some possibilities that are already available, so I won't have to construct it from scratch. I have found some things that might be interesting to check, so I ordered two different wind mechanisms. One of them is an old school wind spinning machine which can be hung in the trees. This is quite a cheap thing, only €10,-.
Another possible windmill I found was on the website of Conrad Electronics. Here I found a windmill which is in fact powered by a solar energy cell. I am really interested in the amount of energy this thing can produce since then I can use the energy of the sun which is a bit more stable than wind. Both of the devices will be delivered this week, so then I will make a comparison between them. If both are not satisfactory I need to think about other possibilities.

Experiment with guitarstring and simple tambourin

Setup for first experimentation

I did my first own experiments with a tambourin and a guitar string, using a violin bow and a guitar plectrum. I made a video of it, which can be viewed here. The intonarumori of Wessel were my inspiration for this construction, which is quite useful. The sounds it can produce are pretty varied, so I can use this construction for a couple of my installations I guess. I need to consider the connection to the six sound categories of Russolo for these constructions, so I will have to make a more solid experiment setup. In the hangar I will reproduce this setup with a more strict approach. But nonetheless, the sounds it produces are erally nice. By chance, I happened to come up with a different way to create sound, which is in the last part of the video. This sounds a bit more like tingling metal in my opinion.





Production in hangar

Since my own place is not wel equipped for construction, I have moved to another location. The boat hangar also has a construction area where I have room and tools to begin the actual construction. After the first day there I already made some construction drawings, since I need to get a more detailed construction to work with. At the moment I am thinking about three installations which will use wind and three which will use the solar mill. Both seems to work quite well, and have their own connection to the weather which I think is a nice aspect to show during the festival. When there is sun, the solar powered installations will work very well, when there is wind, the wind installations will be operating.
At the moment I moved all material I gathered until now to the hangar, which are:

  • 3 metal lampshades, found on "marktplaats'. This is an online second hand shop.
  • 1 'windtol', a wind device which will spin when the wind is blowing on it
  • 1 aluminium tube, for the transport part
  • 2 old drums, to experiment with
  • a couple of guitar strings, to connect to the drum skins
  • a solar powered rotating mill, found on the internet
  • a goatskin, bought online. I want to make my own 'drums' using this skin and various products such as the lampshades

I order a goat skin online, to use with the lampshade to make my own drum skins, but they still have to be delivered. Today I went to the 'Gamma', a shop where they sell tools and construction materials. I got some wood to construct the frame which I drawed today. Below are the sketches for this frame, tomorrow I will begin constructing this frame. I will also make some pictures then to add to this WIKI.


First production of framework design

First phase of frame construction
Second phase of frame construction

I constructed the first frame for the windapparatus. It is quite hard to get it fixed, but also have it rotate freely. At the moment my construction is not completely ready yet, but it is getting there. I could not test the rotation possibilities of this construction due to the lack of wind, so I need to try that next time. Rotating it manually felt a bit hard, so I do not know if the force of wind will result in the rotation of the device now that it is fixed in the frame. If not, I need to come up with different construction possibilities.

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This page was last modified on 17 June 2009, at 14:51.
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