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a r t i s t : Steve Roden
t i t l e : Ear(th)
d a t e : 2005
l a b e l : New Plastic Music IBTN-051
g e n r e : Avantgarde
r l s. d a t e : Aug/2005
t r a c k s : 01
b i t r a t e : VBRkbps
s i z e : 98,8 MB
_______________________________________________________________________
steve roden
ear(th), 2004
williamson gallery
art center college of design
pasadena, ca
october - december 2004
ear(th) is an 8' x 16' x 24' wooden structure. 80 robots
attatched to 80 glockenspiel bars were mounted on the roof and
attatched to some basic stamp programming chips. earthquake
data was translated from a visual interferogram, into code that
would determine which notes were struck and in what sequence
the robots played them. essentially we translated an image of
earthquake data into a score for this sculpture to play - the
resulting soundscape an audio translatio of a visual image of
the earth's movement.ear(th) was a collaboration with cal-tech
scientists ann polsenberg thomas and mark simons. the structure
was designed and built with the help of julian goldwhite and
john o'brien. the entire project was guided by and initiated by
stephen knowlin, director of the williamson gallery.
this text accompanied the installation:
ear(th) was created by translating data of the effects of the
earth's movement during an earthquake, into a score for a sound
composition. The same data that generated an interferogram
image of the 1999 Landers earthquake, is used as a set
instructions to tell 80 small robots to strike glockenspiel
bars of different pitches. ear(th) uses the movement of the
earth as a model for the sequence of pitches, and the placement
of those pitches within an architectural / sculptural space;
allowing the earth, through its suggestions of the spatial and
musical order of sound, to become the composer and conductor of
a piece of music.
Most of my visual and sound works are built from self created
systems of translation. The bulk of this work begins with
converting the alphabet into a series of numbers (usually a =
1, b = 2, c = 3, etc.); and then using those numbers to
determine a series of rules. The rules are then used to
generate translations of text into images, objects, films, or
sound compositions. These rules and systems are the beginnings,
and are intuitive as much as they are pre-determined. They are
defined, but not without holes. The attempt is always to turn
the initial information into a kind of formal skeleton
structure that will then generate intuitive responses in the
hope that the finished artwork can transcend, rather than
illustrate, the source.
With ear(th), a similar approach to the data source is used. It
is present as both a pre-determined structure and a source of
intuitive inspiration. At the core of the installation, and
composition, is an image documenting the effects of the earth's
movement on a small area of the Mojave Desert in 1999. A series
of small sounding robots are constantly reading this data and
using it to determine when to make sounds. When I realized that
the child's glockenspiel bars used for the installation
happened to be color coded in a way that corresponded to the
colors in the interferogram image; it somehow made sense to
connect the purple on the data image to a "b" on the
glockenspiel and the green to an "f". Through these kinds of
intuitive connections, the interferogram became a guide for
mapping the placement of pitches along the roof of the
installation. when i finished the map, i realized that the data
could not only determine the arrangement of the pitches, but in
using the color/ note equivalents, it could also allow me to
follow the image as a musical score - once more translating the
image into sound. i recorded myself playing the data score and
then dropped the pitch of the recording down an octave. this
looping recording of a human is interacting with the robots
playing live - their relationships are constantly shifting as
their cycles are different lengths - perhaps by layering a
precise transcription with a human one a suggestion of new
images is made.
Just as the installation would look and sound different if the
data source was the ocean or Shakespeare; ear(th) in no way
attempts to illustrate the earth's movement or to recreate an
earthquake experience through sound. I am much more interested
in simply allowing the earthquake data to generate a sound
composition and to allow for my own misreadings of the data to
suggest placements, sound ideas, performances, and sculptural
forms. For me, this process is a kind of alchemy - to allow the
materials to be transformed into something completely connected
to, yet seemingly distant from, the source.
My sound work has always been about the creation of a listening
space and to present sound in a context where listening becomes
active. I am interested in the small sounds, unnoticed musics,
and found compositions that are everywhere - what Rilke called
the "inconsiderable things" that we must be receptive and
responsive to in order to experience them. A sound
installation, for me, is simply a listening situation. The
viewer/listener must come to their own conclusions based on
their own experience within the artwork - disconnected from my
own ideas and interests. It is my hope that this space is
conducive to wondering and wandering.
CD released by New Plastic Music / Art Center College Of Design
in a limited of 2000 copies.
http://www.inbetweennoise.com/earthinstall.html
http://www.inbetweennoise.com/cdearth.html
_______________________________________________________________________
01-Ear(th) [61:35]
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61:35 min