Image 1 – PLAY ONGAKU detail BMCC Exposé Program exhibition, Oct 2015
A Blue Mountains Cultural Centre Exposé Program exhibition on display from 16 September to 1 November 2015. Play for Time is a series of audiovisual installations that invites the audience to engage with responsive text, music, nature morte and sound through playful, time based, interaction, recasting the visitor from passive observer to active writer, player, creator. The four installations include: Type over Time, Play Ongaku, Play for Twine and Little Creature Cabinets.
Video – PLAY ONGAKU detail BMCC Exposé Program exhibition, Oct 2015
Image 3 – TYPE OVER TIME detail BMCC Exposé Program exhibition, Oct 2015
After testing we’ve decided to use a larger battery without a solar cell. The Lithium Ion Battery Pack – 3.7V 6600mAh remains charged for up to 100 hours, which we can replace with a charged battery (once a week for three weeks). We’ll also add a realtime clock module to turn the interface off overnight. The signal from the sensor has been changed from Analog to PW (pulse width modulation) running in to digital i/o pin 8, which we’ve found to be more stable then the analog input.
All of this simplifies the signal flow, makes it more stable and means the technology will fit into a smaller weatherproof enclosure with only one external line in from the speaker.
This is our latest adventure from the Blue Mountains, Australia. It’s such an exciting project we decided to blog about it.
We’re making an outdoor interactive sound installation that will locate five separate sensor interfaces hidden in and around the trees in a public location. In essence, we’re surrounding various trees with some great technology to tell (whisper) a story whenever someone passes by. Our blogging for now is about the technicalities of prototyping this project.
Here is a signal flow & component chart for the prototype so far.
c o a l – w i n e – f i s h – s a l t – w a t e r – s m o k e
The six land and seascapes are distorted (stretched or warped) and show an interpretation of their satellite view. Within each, web like black broken lines twist into themselves like a fracture in their earth’s structure. The cloudy skies above alter in hue from an aqua blue haze to violet and lime. Their discoloration is the pollution of our atmosphere(s).
The viewer flies over and listens to six locations from the peninsula at Newcastle East, the vineyards at Wollombi, the inlet at the Hawkesbury River, the bay at Pretty Beach, the beach at Avalon and finally King street in Newtown where the work was originally conceived in 2008.
Mounted below each panel are clear acrylic housings. Each of these contains a substance that is either produced by or of the location below and although each substance was gathered from that location it is not exclusive to it. The first five (coal to water) are the resources, fuel, food and drink we either depend on or consume and the last (smoke) is a bi-product of this consumption and a consequence of both land and sea travel. That we are so dependent on these resources and fuels and consume them to the extent we do is a part of life. Consumption is not the problem; it is the bi-product of our consumer society, human induced climate change that is the focus of this work.