Prescript July 11, 2001: Last night while watching the PBS
series "Building Big"
there was an interview with sculptor and designer Kenneth Snelson in which it
was revealed that R
Buckminister Fullershould not be attributed with the actual conceptualization
of the tensegrity structure, but rather blantantly took credit for work that
Mr. Snelson had done. This sort of robbing of attribution is something that
has plagued my own work as a technical assistant and digital music problem solver
for many years and so I was very embarassed when in my excitement at discovering
this fact I wrote to Mr. Snelson without taking the time to edit this page to
reflect this truth. Those who are intererested are invited to read a full account
of a corrected history in the form of a letterto
R. Motro of the International Journal of Space Structures by Mr. Snelson that
sets the record straight.
What follows is my text from June of 1999. I will be updating this page later
in the summer to show the current work of the acoustic electromechanical hybrid
instrument that I am currently working on.
Early in 1983 I was commissioned to write the music for a wedding reception
of performance artist and art curator Evan Painter. At that time I was steeped
in reading Synergetics by Buckminster Fuller and decided to work with these
mathematics as a compositional determinate. I was particularly interested at
that time, in the vocabulary of the geodesic dome that described the rational
relationship of the length of strut members in a geodesic object as "Chord"
factors. This obvious allusion to harmonic relationships prompted me to create
a piece that mapped these specific frequency relationships determined by the
lengths of an architectural structure to a harmonic lattice. These harmonic
lattices are common among researchers in to intonation theory and so I based
the research on combining my knowledge of geodesic math with the concepts of
harmonic lattices put forward in modern intonation theory. My first project
involved using the lattice created using the chord factors from a 6 frequency
geodesic ellipsoid with foci proportioned at the golden mean. If the great ellipse
of the defined structure was 2 units across, the distance between the foci would
be 1.61803989... units ( the golden mean ). The lattice of chord factors that
constructing such a geodesic elipsoid will generate. The main atribute of the
lattice is that it is described by a triangular juxtaposition of members as
opposed to the quadrille or quadralateral dispalcement of cartesean based mathematics.
By multiplying each of the chord factors of the representative architectural
strut members by the fundamental frequency of the intended scale the frequency
relationship of each chordal member is established. These chord derived frequency
sets are ordered in matrices based on each struts placement in the original
structure. By collecting the parameters of adjacent matrix members to the in
ordered grouping, isorhythmic chord groupings and polyphonic melodies determined
by these relationtionships are generated. This complex set of predetermined
systems generated a sweet and pleasing sound field that had inherent symetries
of motion and confluence and yet was complex enough to afford continuous gentle
variation.
The sequential playing of groupings in the matrices could actually be visualized
as planes that were passing through the elipsoid. Sticking strictly to these
intersections as a means of timing lead to thinking of the vertices of the structure
as being "strings" of a conceptual harp that was being played by the
planes as they passed through each vertici. truncated octahedron tensegrity
This concept of the vertices being strings, led to the next phase of the research.
This type of structures based on the work of Keneth
Snelson lent itself to being the basis for a playable instrument appeared
to be the tensegrity structures. The question was how was this new proposed
instrument to sound: acoustically or in more challenging way as a means of playing
the multiple parameters needed for the control of digital synthesis algorithms.
By tranducing the net stress of each of the faces of a tensegrity structure
( such as the truncated octahedron in the illu. ) then one could intuitively
control multiple parameters associated with processes suchas vocoding, resynthesis,
etc. Also, if one could distinguish between the act of stretching and the act
of plucking, more useful musical information would be generated by the instrument.This
intuitively interesting project is fraught with technical difficulties, however.
The problems
associated with the work are both of a hardware and software nature. Addionally,
there are considerations that add to the look of the instrument as an aesthetically
beautiful object. A transducer needed to be found that would translate the information
regarding the stretching and plucking of the suspension mebers without interupting
the look of the instrument. My association with STEIM
and its cadre of instrument designers lead me to many potential solutions. First
Bert Bongers suggested a transducer
that was linked to a spring that was in a machined part that held a magnet and
a hall effect sensor. This is a problematic solution mostly because of the non-linearity
of the hall effect sensor. In thinking about the problem more carefully, I came
across al ine of inquiry that seemed very interesting.
In electronics magazines I spotted a company called Instrument
Specialities Inc.. which specialized in making special purpose gaskets for
electromagnetic isolation of components in microwave electornics. One of their
products was called "Conductive Siicon Elastomers". The short description
included the information that the material could be doped with carbon, copper,
aluminum, nickel, etc. It occured to me if this string like material was stretched
that there was a chance that the metal particles suspended in the silicon would
contact more their changing any resistance that was created. Upon talking to
the field representatives this was indeed the case. I then went over the specification
sheets and selected the carbon/nickel combination as having the best conductivity
with at least some resistivity. After some phone work iwas able to acquire a
six foot sample of a fabricated 130 mm length of this material. It met and exceed
my expectations. At rest it has almost no resistivity with about 100 ohms at
12 cm. when stretched this resistance increases linearly with stretch to about
4 M ohms. Quite good for my purposes.
By using this material with a votage across the members of a tensegrity structure
can be connected to an A/D convertor and the stretch can be congruently converted
into a digital number based on the resolution and sampling rate of that conversion.
With the backing of the MultiMedia masters degree program at CSUhayward and
the support of Microchip Inc. I have acquired a PicMaster emulator and a Picstart
plus programmer. For my initial experimentation, I am using the PIC 16C77 embedded
processor which has integrated into it eight 8 bit A/D channels. With this system
I can read the stretching of the structure and in that way create a dynamic
vector model that can be remapped to abstract parameters associated with one
or many DSP algorithms that are generating, delaying, filtering or in some other
way modyifying sonic material.
The most, initially, unclear aspect of the reason for this construction can
be summed up in a historical perspective of my experiences with various types
of alternative controllers.
Update February 2002
I have decided to take another approach on the construction of this instument
and not use the Conductive Silicon Elastomers. While they produced promising
results they were not stable and required constant recalibration. I spent more
time on the recalibration routines thatn working on the routines to make the
construction a viable musical instrument. So there are now two prototypes using
two different approaches.
One is based on the Tensegritoy model. By building this model I was given an
elastic version of the structure I intended to work with then I simply attached
linear potentiometers to the members and took the output of those potentiometers
directly into a voltage to midi conversion box ( the STEIM sensorlab ) and input
the midi conversion into a Macintosh computer running Max software. I use Max
to message the data for the particular application that I am working on.
The second model is more elaborate. I built struts out of oak and mounted guitar
tuning machines on one end and added a bridge on the other. Then i constructed
a real stringed harp using the tension created by the tuning pegs to tighten
and tune up the construction. This phase is now finished and I have what i would
describe as a multi dimensional Berimbau. The next phase of the building of
this instrument is to add six single coil pickups to the bridge of each of the
struts and then not only amplify the unique string vibration and sounds that
they prduce, but also do a real time spectrum analysis and geneal acoustical
analysis of each of the pickups and use that as a performance determinate. i
am currently working on the best pickups and mountings for those pickups on
the instrument.