#research

Salut South Bend, on veut te rencontrer

par cecile

Il se passe des choses excitantes dans cette ville. (Giant River Lights? « Premier président gay? » ? Nous sommes intrigués…)

Du 30 au 31 juillet 2018, Daily tous les jours part à la rencontre des habitants de South Bend pour imaginer une nouvelle installation interactive sur les bords de la rivière St Joseph.

Venez rencontrer Mouna, Pierre et Rebecca et participer à nos trois ateliers pour poser les bases de ce futur projet au bord de l’eau.

South Bend, on a très hâte de venir écouter tes histoires et de travailler avec toi!

Inscrivez-vous ici!

L’art de marcher dans les villes

par cecile

Nous, les humains, on marche. C’est comme ça.

En ville, si la marche est un geste anodin, elle est aussi une opportunité pour déconstruire le déplacement, repenser la relation entre le corps et l’espace, et réinventer notre rapport à l’espace public. Quand on change les règles du jeu de l’environnement, le simple fait de marcher peut venir bousculer notre perception de l’espace, mais aussi notre rapport à la ville et à l’autre. Plus on marche en ville, plus la ville se transforme, pour qu’on y marche plus heureux.

En mars 2018, le Wellesley College à Boston (l’une des plus anciennes université de la côte est américaine – toujours réservée aux femmes), nous a invité à animer une série d’ateliers pour leur Concert Series. La professeure Jenny Olivia Johnson a reçu Mouna (co-fondatrice), Rebecca (design produit et environnement) et Eva (directrice technologique) dans le cadre de son cours, Studies in 20th Century Music: Interactive Sound Art with Electronics, pour co-concevoir et fabriquer des prototypes d’installations interactives sonores avec ses 18 élèves.

Ensemble, nous avons imaginé ce qui peut se passer quand un banal trottoir bouge, vibre, sonne, chante, monte ou tourne… Une occasion de poursuivre notre expérimentation sur l’art de la marche, notamment déjà amorcée avec Mesa Musical Shadows.

Samedi 17 mars à 16h00, Mouna donnera une conférence sur le design participatif au Wellesley College, suivie par une présentation au public des prototypes réalisés par les étudiantes.


Plus d’informations sur l’événement

 

Pour aller plus loin sur l’art de la marche:

L’avenue dorée et dansante de Jean Verville
La marche-performance de Hamish Furton
La marche sur l’eau de Christo en Italie

Charge (Fanfare) at Pier 9!

par Eva

The daily creative team went to Pier 9 for a 2-week residency in preparation for the Market Street Prototyping Festival and I brought along a research idea: exploring the possibilities of storing music on surfaces. Asking if we can give objects a hidden layer of sounds that can be played by anyone, with any tool. Could we transform everyday street infrastructure into potential instruments or secret sound storage devices (similar to how greyworld hid “The Girl from Ipanema” on railings)?

What I had in mind would use a similar mechanism to a record player (phonograph) needle translating physical bumps on the vinyl surface into airwaves. I wanted to use the digital-fabrication goodness at Pier 9 to create engraved patterns on surfaces that can be turned into sounds mechanically. And instead of needing a special tool (=record needle) to play the sound, I wanted everyone to be able to “release the sound” with a pen, a fingernail or a coin.

Engraving a regular pattern into a surface, and then running a stick alongside it, produces a certain pitch that is caused by the rate at which your stick bumps against the grooves of your pattern. If you run the stick alongside it a bit faster, it’ll hit the bumps faster and produce a higher pitch.

The instrument that gets closest to this idea is the Güiro / Rasps / Scraper / Raspel / Raspadora / Scratcher which usually consists of an engraved resonant body which you scrape along with a stick. But while these instruments are mainly used for creating “rasp” percussion effects, I wanted to explore their potential for pitch variation.

So I started with a bunch of pitch calculations. The C4 (Middle C) note emerges from something vibrating at ~262 oscillations per second. If we assume we can activated our engraved surface at a speed of 500 mm/sec (arm swiping speed), we’d have to position our engraved bumps at a distance of 1.9 mm each. An E4 demands a bump-distance of 1.5 mm, while a G4 calls for 1.3 mm. The math formula being: speed of activation / frequency of oscillation = distance between bumps.

Laser-engraved C Octaves patterns

Then I turned to the machines and started lasering stuff! I worked mainly with acrylic and wood, on the Epilog 36EXT Lasercutter. After a first proof of concept that different groove patterns indeed produced different pitches, I turned to explore rhythms. Leaving larger gaps between “notes” also improved the sound perception, by giving the airwaves time to spread, without being interrupted by the instrument’s natural “raspiness”. Empty spaces are always important.

Laser-engraved rhythm patterns

After having “mastered” pitch and rhythm, I turned to melodies. As I was limited in the length of boards I could laser-cut, the melody had to be short. And after spending way too much time trying to transcribe Kraftwerk’s The Robots base melody, I finally selected something that is short and well known. And – as it turns out – endlessly annoying for everyone around you: Charge (Fanfare).

Musical notation of Charge (Fanfare)

The 6-note melody can be seen in musical notation above, and what it looks like translated to an engraving pattern below:

The engraving pattern for Charge (Fanfare)

I then set out to test the same pattern on the different machines Pier 9 has to offer. Besides laser-engraving on acrylic and wood (working 2d with Inkscape), I printed a three-dimensional version on the Objet 500 Connex 3D printer (using OpenSCAD for some simple parametric .stl production) and cut a metal version with the Omax Waterjet 60120.

Now, please judge the auditory results for yourself:

How do you R+D+Play?

par Eva

Soon the stars will all magically align and everyone here at Daily TLJ will be “out of production” at the same time. This is an anomaly, because usually production phases of projects overlap endlessly so we never really get a breather. But after having installed, presented, and pushed-out about 7 works this year already, we are now moving towards conception and ideation on several upcoming projects. This also gives us the opportunity and freedom to rethink the way we work, play, and invent.

Read more…