While exploring northwest Iowa, I found 2 wind turbines and was able to get in between them to make a recording of them both at the same time. They are two different models and made two very different sounds. Off in the distance is road construction equipment.
-n 1. a noisy confused place or situation.
The project began by selecting a segment of a field recording that I made in Delhi, India on DB Gupta Rd at Delhi Station. Once selected, I was assigned 2 randomly selected Oblique Strategies. The Oblique Strategies is a methodological intervention developed by Brian Eno and Peter Schmidt in the mid 1970s. The idea is that cards or selected at random from the deck and the statements on those cards are intended to inspire new approaches to making work.
The two oblique strategies I was randomly assigned where 1: Spectrum analysis and 2: Is the intonation correct? I found these two to be very interesting as both a sound artist and a graphic designer. As a designer, I’m very much interested in what sounds look like whether it be spectrograms, visualizations or listening maps. I’m also very much interested in language. I decided to try and develop a process from the two pieces of inspiration that would create the final composition using only the original recording as source material. In the end, I developed a system that used the spectrum analysis of the original recording to manipulate the intonation of the recording by altering it’s speed during playback. I first recorded a video screen capture of the spectrogram as the sound played. I then read that video into a Max patch and analyzed it in real time, using the values from the analysis to control playback of the original sound. I then routed that sound to Ableton Live for the application of some minimal effects and mastering. The final piece is created with this process and the original field recording is the only audio material used.
This track is from my installation at the Des Moines Social Bash in 2013-14. The installation included 3 tracks composed entirely of noises foraged from around downtown Des Moines and it’s familiar infrastructural elements.
End Transmission, 2013
A collaboration between Ezra Masch and Alex Braidwood
Installation at Tiger Strikes Asteroid, Philadelphia
Audio recordings of jet engines play on a 4-channel loop. The sound system is positioned in front of a sheet of reflective mylar, which vibrates in response to air pressure from the speakers. Light is projected onto the surface of the mylar, reflecting a luminous image of the material's movement on the opposite wall.
Note: this project contains low-frequency sound that may be difficult to reproduce with most home stereo equipment.
Initial prototype of a new Mr & Mrs Formalplay collaboration.
Cutting through the city of Des Moines is an active railway line with trains passing all throughout the day and night. They begin early in the morning and can run well after the sun sets. The main line near the city center is parallel to the stretch of road designed to run from the capital building sitting atop the hill straight down through the urban center, cross the Des Moines river. Up against the tracks on either side throughout this expanse of the urban landscape are parking lots, alley ways, some office buildings and a few buildings converted into hip residential communities. The depot has been converted into a facility with a sports bar with a jokey name at one end, a German restaurant at the other and some sort of cube farm in the center by the looks of it through the windows. While the function and interiors of the this historically recognizable elongated structure have been altered, the exterior with it’s arched windows and covered waiting platform remains much the same. You just see two lovers about to be separated for an extended period of time exchanging handkerchiefs through an open train car window. Extending in both directions along the track is a series of parking lots that run adjacent for the duration of the west side of downtown ending at a slightly wooded area where some of the sub-urban arterial roads begin. A few streets of the city have been given a second layer that rises up over the tracks so drivers have a one-way north bound and one-way south bound option for getting around the city at times of the train’s intervention which can be any combination of long, slow and frequent. The rail line cuts across a dozen or more numbered streets paired with nothing but flat asphalt for blocks.
Because the trains cross so many streets, the horns sound almost constantly. The wailing drones are varied in pitch and texture. The drone carries. The flat parking lots don’t abstract the sound as it is hurled towards the expanse of tall stone and class buildings several flat blocks away. The echo is amazing. The reverberation of the whistles as they reflect from the train to the south off of the city to the north and back creates a cacophony of alert that folds and resonates back onto itself. Being underneath the concrete overpasses, the relation to the noise changes yet again. What is originating from one side is now also raining down from above. It’s an enveloping experience of noise washing over from all sides and all directions. It’s physical as well. Heavy loads and massive amounts of energy roll within feet of living, driving, parking and walking spaces. The physical effects are felt 5 stories up from blocks away. But as the train moves through, the reflection changes in density and time. It takes on different characteristics of the material and orientation of the buildings in relation to the train and to each other. The signature of the location not only being the city but at a particular place within the city adds to the depth and character of the sound. The modulation form capital area, over the river, to the downtown business and entertainment district becomes a performance in which the noise travels and the infrastructure becomes the affecter, shaping the listening experience for anyone willing to listen. It’s a city-specific, urban-centric performance at industrial scale. A noise wandering exploration of the caverns, surfaces, vacancies and occupiers of the space. The need for warnings is an indication of activity. The listening experience is the result of a heard intersection of industry and infrastructure.
All content ©2014 Alex Braidwood unless otherwise stated.
- mysterious hum
- sonic fiction