Technological and Computer-based Projects



Circle of 5ths Clock: Interactive Public Sound-Sculpture
Proposed Funded Extension of Project

This project consists of 12-16 freestanding metal resonators, each with an internal solenoid-based striking mechanism. When hit, each resonator rings at one of the twelve pitches of the chromatic scale. (The "extra" resonators correspond to a range extension that makes the final product more musically appealing) On each hour, wired/wireless signals are transmitted to the sculpture, causing a chord progression to occur. The sculpture progresses through all twelve major keys in a logical, rational order during the daytime (which is the time for logical, orderly thought) and through the twelve minor keys at night (which is a time for intuitive, non-goal-oriented thoughts and actions). In addition, each progression contains a number of chords equivalent to the number of the hour: 12 noon is a 12-chord progression leading to C Major; 3 am is a 3-chord progression leading to d minor. In this way it is possible to use the sculpture to tell time in a musical, unobtrusive, nonvisual way.


I have built a small-scale, functioning model of this sculpture, visible on my portfolio website. Grant support will make it possible to realize a large-scale, permanent incarnation of my vision for this sound-sculpture.


In a primary and direct way, this sculpture invites physical examination from the public: large metal box-shaped resonators suspended slightly above the ground ask to be touched, tapped, stroked, struck. Additionally, I plan to develop an interactive system whereby the public can "tell" the sculpture to play notes any time it is not ringing out the hour. Two possibilities present themselves for this: One, the public is invited to text SMS messages to a given number; those messages are then translated into musical pitch via my text-to-pitch algorithm (http://ickydog.com/tech/typing.html) and played by the sculpture. A second, more demanding option for the audience, is to post a phone number that audiences can call, and sing to live. A simple pitch analysis of the sounds being sung will strike the resonator corresponding to the note sung by the audience member. This has the advantage of immediacy: imagine standing in the midst of these resonators, with a direct line to controlling them using only your voice. This, then, becomes a public technology enabling a non-musically-trained layperson to learn about his or her voice by doing, and by exploring.


My ultimate goal for this piece is to place it in an accessible public location, so that anyone who desires may interact with it according to their comfort level: observing, listening, touching, or controlling via text or singing. Signage around the sculpture can be placed to encourage people from all walks of life to form a relationship with the sounds made. In addition, because temporary control of the sculpture will come from calling a phone number, this enforces a one-at-a-time control (Including control at a distance: Shy? Call from home!) while allowing crowd appreciation and response. Because the sculpture interprets and analyzes rather than amplifies and broadcasts, it also can facilitate music-making by those who might normally not feel comfortable singing in pubic, or even in private. Last, while it's still tempting to think of cell phones as a luxury item, this is less and less true: mobile phone service is a lifeline for the economically disadvantaged, allowing participation without discrimination by social status.


In addition to all that I've described above, new user interaction will build on current interactions: one sees the sculpture being somehow controlled, although the exact mechanism isn't understood. The next question is: Can I do that? The signs around the sculpture assure you that yes, in fact, you can do that! Each hour's ringing will also be an opportunity for fresh interaction if the sculpture is momentarily silent-- or an offering of new sound possibilities if many people are interacting with it.


It has become rare in our culture to create spontaneous music with others. I believe that bringing this experience to public spaces will awaken participants to the transformative power of community beyond music-making, helping those who become involved to approach others in a new and more connected way. By calling the public to act, to listen, to interpret and create and to respond to the result with a new, altered creativity; and by bringing musical experience to people in a way that will enable them to learn intuitively; it is my hope that this piece of public art will serve to enable, empower and encourage members of the public to reflect on musical sound in a public space, and to connect with their own music-making abilities through controlling a new sculpture in unexpected ways.