1968-1972 MFA Hexagram/Terrain Instruments Thesis (2012)

Context, Canadian Baffin Island Peninsula. http://www.d.umn.edu/~lbrush/GibbsFjord1.jpg These Haloids (Xerox prints/collages) and lithographic images are North Pole sourced. (http://www.d.umn.edu/~lbrush/lbarchivesc.html#anchor494146 ) Imagining Baffin Island from a conceptual altitude of approximately 1-5k feet. (http://www.d.umn.edu/~lbrush/Baffinlandetail.jpg) The occluded island fronts are colored red and green and the isolated flagship (orange) hexagram (http://www.d.umn.edu/~lbrush/Baffinlandetail.jpg ) was the first to ride southerly winds and hovers above the Island -seen-on this page- on the lower right of the four shown Baffin Island images: the top right image shows scattered Interferometric lasers used for the overall sound mix of the yet to be assembled hexagrams. (http://www.d.umn.edu/~lbrush/laseringclouds.jpg) Bottom left image details an Audible Construct monitoring class. (http://www.d.umn.edu/~lbrush/SAICRoofc.69-72.jpg), and equipment consoles. (http://www.d.umn.edu/~lbrush/SAICRoom201.jpg) Some sounds. (http://www.d.umn.edu/~lbrush/Hexagram1971.mp4) Helium balloon. FM transmiter/receiver projects. http://www.d.umn.edu/~lbrush/Veetest3.jpg Eventually all Hexagrams drift closer, and this array will, from amplified sounding speakers beneath the hexagrams, will simultaneously playback their previously recorded layerings above Illinois US cornfields, which were previously recored in April of the same year. The original page freeze-framed Baffin Island lithograph is shown in lower right of the conceptual image @ 5k feet above central Baffin Island Canada. The silent visual result came from a sixty pound Bavarian blue limestone and a complicated etching process of over-printing. Colored lithographic results represent Leif's 1969 concepts being realized, minus any "sound track," as resulting vision of this peninsula. Achieving proper alignment of the final image required going through a separate pass for each color on the same limestone. Atmospheric details: occluded fronts- the Icelandic low & Greenland high- are each colored red and green and the isolated orange flagship hexagram was the first to ride out these winds, while hovering over Baffin Island. Baffin Bay is on the right, including south-bound ice floes. http://www.d.umn.edu/~lbrush/60slithos.jpg

Full Description

Detail of portions of the East-West installation of the Hexagram's wind-receptive monitoring plane of steel wires was the prototype for Leif's later terrestrial and phenomena-centered Hexagrams and evolved Hybrid Instruments which would unfold from his 'soundsculpture'. Hexagrams employed a variety of 16,18, 20 & 22 gauge stainless steel strands, and the sensor-attached varieties included crystal, accelerometer and DeMarzio magnetic transducers. Left ungrounded, during the preamp set ups, these wire could tune in shortwave signals, providing Chicago weather forecasts for "sailing on nearby Lake Michigan"; and interestingly, O'Hare airport plane's higher turbo-prop pitch overhead was audible in our headphones as were black flys buzzing across and/or by direct impacts by other insects perturbing these strands. Overall the sound resulting was as if you were in a blackwhole, having no acoustic walls! Modulated laser/radiometer, barometric, load-cell, proximity, accelerometer, flow-meter and other sensors provided analogue resources. The spatial sounding results were deeply moving when listened to via these headphones. Helium-filled FM-self-broadcasting VEE balloons were sent aloft by students to broadcast ambient layers ( wind screens included), and all hexagram facets monitored winds and local phenomena- especially wind gusts which, ricocheted off east-facing Michigan Avenue buildings. His Audible Constructs class proposed self-broadcasting projects and the building/launching of pollution free and floating Giant IVORIES east bound on the Chicago river; and carrying the Greedy Suckers band- also FM broadcasting to those on shore- while students and loop visitors linined the somewhat green Chicago river nearest Wacker Drive and Michigan Avenue . At this time at the then Schools of the Art Institute Chicago, 1970 - 1972, Leif's MFA concepts, projects, and resulting audible sculpture class, soundworks, Terrain Instruments, also include the REDOT mind voice network: voice & wind-mixed<< data poetry telephone conferences, which later employed infinity transmission assitance, reinforcing the nightly confabs. http://www.d.umn.edu/~lbrush/lbarchivesb1.html#anchor123279 Stream routing From Gibbs Fjord Baffin Island, Canada, to Rowley Island, the modulated laser was routed to a nearby microwave relaying station; from here, the the resultant multiplexed (combined) and demultiplexd signal output of sounds were converted to duo channels, up-linked to the North Atlantic satellite and downloaded to an overhead array of speakers in DeDeolen Hall, Rotterdam Holland. Reuters new service scene: "The sounds perceived in the hall were WINDS from Gibbs Fjord, sounding as a cube; SNOW as dots; and from the European REDOT Network, a THUNDERSTORM was heard as a cylinder." The received sound sources were micro-processor configured, amplified and spatially placed via a broad and spatial canopy of overhead speakers. In Leif's letter, seeking sponsorship and endorsement of the Ivory soap "Large Size ~ Twin Cake," produced by Procter & Gamble was denied by Helen P. Kuether. http://www.d.umn.edu/~lbrush/P%26Greply.jpg Audibly/visually, with a cloud of steam, was to have been aimed at this central location and was to have shown a a large twin cake bar product via Kodak projection.)- Leif Brush, MFA Candidate & SAIChicago Fellowship entry May 26, 1970

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Artist Statement

One of Leif's major concerns is the urgent need for humane, aesthetic models, vocabularies and processes which can allow people to expand humanistic bases for artists and citizen-scientists while evolving contemporary and Nano technologies, as he feels nature can sustain these prime resources for conjoining inspiration.


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