FAQ

Artistic - FAQ

Could you reflect on both the practical and aesthetic reasons as to why one might choose samples as opposed to real-time synthesis for a project like this (or vice-versa)? James W. Thomas, ASU @ the Polytechnic Campus, Humanities & Arts, Program Coordinator, e-Learning.

This a ongoing discussion, but almost surpassed. I tried both ways and I find the direct transduction of data into generative music as musically, conceptually, esthetically speaking, limiting. There are no practical reasons.

With samples, which I actually call "sound design", I can control a sort of "pathos", or some semiological issues... some codified, explicit symbols for the public. For me, in these installations, in terms of the public, the most important is how the people read the trees, beyond any technological matters. The direct transduction from data into music is for me, as a composer-sound designer, more a programming home-work than a music-making process.

For example, in our installation in Mexico, in a big central patio with a fountain, I decided to turn the fountain off and put some water sounds for the tree. Then, the tree played the roll of the fountain in terms of sonic environment in the building. Conceptually I changed the roll of the tree, from a moving, green plant, into a fountain. And I decided in which way I wanted to relate wind-activity levels with sound-design. In this point come a more complex, more intriguing extrapolation process, not a direct, transductive, rational one.

I tried also with generative synthesis, but after some time of listening how the tree generates sound, one begin to think… “How I did it… how it works…the code is ok?” And this is not, for me, a submersive process related to art but to technology and algorhythms. Is more or less the same case when you read a novel and you think “This guy… how good he is, he writes great, what a technique!” or…. You just read the novel as your OWN life experience and forget about who wrote it, even if the novel is not technically perfect. Then the novel is an art work, not a technical work. I am not suggesting that I succeed in this, but it is the direction I am looking for.

I am not judging real-time synthesis, of course, but for these installations, the samples give me more tools to find myself totally lost and ask more and more artistic questions.

I was in San Luis Potosi on July 12th and was very impressed when I saw the Sotavento project. [...] On more than one occasion, I sat at the bench surrounding the tree. On both occasions, I heard the words "A dónde vas" whispered over and over along with the tree noise. I went at two different times of the day, and heard the phrase repeatedly, and very clearly. Can you please explain how a human phrase (and in Spanish) could be heard along with the musical noises given off from the tree? I was with two others who also heard the phrase and we are very interested in an explanation. Aida Terzich, San Antonio, Texas

You didn't listen how the tree sounds, but what the tree makes with our sounds. The sounds of our tree in San Luis are based on samples, or recordings made by purpose. The tree does NOT generate the sounds by itself, but only controls the way the sounds plays-back, mixes and spins around you. We heard several interpretations from the public in San Luis. For instance, one teenager was saying to her friend "Now we can listen how the tree drinks water from the hearth." Amazing! This is actually our goal, to create new visions and fantastic ideas! The tree spoke to you at the installation. Then, just conserve it as it is. Perhaps sometimes the trees just talk...!

Technical - FAQ

(You can also visit our technology page)

Could you give more details on the data topolgy of the project? James W. Thomas, ASU @ the Polytechnic Campus, Humanities & Arts, Program Coordinator, e-Learning.

[Sensors on tree] > [Cat5 cable] > [Arduino] > [Max/msp] > [OscGroups] >

(Internet-udp] > [Oscgroups] > [Max/msp] > [Audio interface] > [The World]

This list is an example of one type of connection. In real-life, the connections are established between more source nodes (trees) and clients (tree installations, musicians) and are inter-connected. Also, technically, the connection my also be negotiated on the way between different oscgroup groups, using "oscgroups router"

What protocol do you use to connect the Arduino and Max. Serial, MIDI? James W. Thomas

Serial - over USB connection or wireless Bluetooth.

How would you introduce oscgroups to people who are unfamiliar with it? James W. Thomas

In this order: What is osc >> What is udp >> Firewalls-private_ip-nat - the problematic world of packets >> Oscgroup.

..on this I would add a note: Oscgroup is great, but, it can not function through all types of NAT (see the readme). To bypass this problem, I've developed an inter-groups oscgroups router service that can route OSC messages between different oscgroups. This solves the NAT problems by running this service (cross-platform java, hosted at TU-Berlin during Sotavento network) on a server with a 'Public IP' , then it will always be accessible for problematic clients, and will echo the OSC packets from unreachable oscgroups nodes. Also, it can be used as a general-purpose oscgroups multi-group router and filter.

Could you provide a short description of the general requirements?

1. Permanent internet connection, if the case applies. 2. A room for the computer. 3. Protection for the cables. 4. A place to hang the speakers around the tree, or on the tree. This figure illustrates our general requirements.

Can you send a "Kit" to be installed by us?

No. Due to specific configurations, speakers and sound design, we have to go to the venue and "feel" the place artistically and technically.

Financial - FAQ

How much does the hardware cost?

The basic hardware for each tree costs around 500-900 euro. The more trees in a site - the cheaper it becomes. Speakers cost is additional as their price highly depends on the design and manufacturing methods. Hardware for connecting the trees to lighting equipment costs around 300-600 euro. These costs cover only the hardware and are not negotiable. Additional costs include: installation setup, sound design, internet service, software and licensing.

Who makes the installation maintenance?

In normal weather-conditions, our installations are maintenance-free. We have complete remote access to the tree-computers, and can monitor the electronic hardware and sensors. The system incorporates an errors notification module via email. Software maintenance is a remote-process and we are responsible for it.

And in very bad weather conditions?

If is not a "Katrina" hurricane, is ok. Our installation in San Luis, Mexico, continued to work during a strong tropical storm, with balls of ice and extreme winds. Some trees in the city did not survive. Only a single cable of one of the four speakers was disconnected. During the whole storm the tree's movements were tracked by the sensors, and sounded through three speakers. We checked this during the storm in our hotel.

Does this cost cover the royalties for the sound design?

It depends if the access to the installation is free or not. Our sound design is protected by GEMA in Germany as a music composition. Royalties are much likely to be paid if the institution charges entrance-tickets as a regular basis.