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  • (Music)

  • What you just heard

  • are the interactions of barometric pressure, wind and temperature readings

  • that were recorded of Hurricane Noel in 2007.

  • The musicians played off a three-dimensional graph of weather data like this.

  • Every single bead, every single colored band,

  • represents a weather element

  • that can also be read as a musical note.

  • I find weather extremely fascinating.

  • Weather is an amalgam of systems

  • that is inherently invisible to most of us.

  • So I use sculpture and music

  • to make it, not just visible,

  • but also tactile and audible.

  • All of my work begins very simple.

  • I extract information from a specific environment

  • using very low-tech data collecting devices --

  • generally anything I can find in the hardware store.

  • I then compare my information to the things I find on the Internet --

  • satellite images, weather data

  • from weather stations as well as offshore buoys.

  • That's both historical as well as real data.

  • And then I compile all of these numbers on these clipboards that you see here.

  • These clipboards are filled with numbers.

  • And from all of these numbers,

  • I start with only two or three variables.

  • That begins my translation process.

  • My translation medium is a very simple basket.

  • A basket is made up of horizontal and vertical elements.

  • When I assign values to the vertical and horizontal elements,

  • I can use the changes of those data points over time

  • to create the form.

  • I use natural reed,

  • because natural reed has a lot of tension in it

  • that I cannot fully control.

  • That means that it is the numbers that control the form,

  • not me.

  • What I come up with are forms like these.

  • These forms are completely made up

  • of weather data or science data.

  • Every colored bead, every colored string,

  • represents a weather element.

  • And together, these elements, not only construct the form,

  • but they also reveal behavioral relationships

  • that may not come across

  • through a two-dimensional graph.

  • When you step closer, you actually see

  • that it is indeed all made up of numbers.

  • The vertical elements

  • are assigned a specific hour of the day.

  • So all the way around, you have a 24-hour timeline.

  • But it's also used to assign a temperature range.

  • On that grid, I can then weave the high tide readings,

  • water temperature, air temperature and Moon phases.

  • I also translate weather data into musical scores.

  • And musical notation allows me a more nuanced way

  • of translating information

  • without compromising it.

  • So all of these scores are made up of weather data.

  • Every single color, dot, every single line,

  • is a weather element.

  • And together, these variables construct a score.

  • I use these scores to collaborate with musicians.

  • This is the 1913 Trio

  • performing one of my pieces

  • at the Milwaukee Art Museum.

  • Meanwhile, I use these scores as blueprints

  • to translate into sculptural forms like this,

  • that function still in the sense

  • of being a three-dimensional weather visualization,

  • but now they're embedding

  • the visual matrix of the musical score,

  • so it can actually be read as a musical score.

  • What I love about this work

  • is that it challenges our assumptions

  • of what kind of visual vocabulary belongs in the world of art, versus science.

  • This piece here is read very differently

  • depending on where you place it.

  • You place it in an art museum, it becomes a sculpture.

  • You place it in a science museum,

  • it becomes a three-dimensional visualization of data.

  • You place it in a music hall,

  • it all of a sudden becomes a musical score.

  • And I really like that,

  • because the viewer is really challenged

  • as to what visual language

  • is part of science versus art versus music.

  • The other reason why I really like this

  • is because it offers an alternative entry point

  • into the complexity of science.

  • And not everyone has a Ph.D. in science.

  • So for me, that was my way into it.

  • Thank you.

  • (Applause)

(Music)

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B1 US TED data musical dimensional score art

【TED】Nathalie Miebach: Art made of storms (Nathalie Miebach: Art made of storms)

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    Zenn posted on 2017/09/21
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