WEBVTT 00:00:20.729 --> 00:00:23.120 After 100 years this potential 00:00:24.275 --> 00:00:26.377 of scandalization and self-expression 00:00:26.576 --> 00:00:27.932 is exhausted. 00:00:28.731 --> 00:00:30.124 Consequently the arts have started 00:00:30.296 --> 00:00:31.529 in the 21st century 00:00:31.641 --> 00:00:32.567 to refer 00:00:32.749 --> 00:00:34.397 to succesful sytems, 00:00:34.865 --> 00:00:36.309 that is to say science and technology 00:00:36.561 --> 00:00:37.729 These are the systems 00:00:37.882 --> 00:00:40.410 having changed the reality with success! 00:00:41.086 --> 00:00:42.970 So far the arts after modernity 00:00:43.224 --> 00:00:44.844 made a turnaround in the 21st century 00:00:45.044 --> 00:00:47.621 Instead of self-referencing 00:00:49.600 --> 00:00:51.996 we refer to social systems 00:00:52.322 --> 00:00:56.019 systems of science and technology. 00:00:58.736 --> 00:01:00.429 This is the state of the arts today. 00:01:00.918 --> 00:01:02.052 This (exhibit) is 00:01:02.255 --> 00:01:04.029 an exemplary demonstration. 00:01:04.277 --> 00:01:07.154 So let's start with the organ installation in the last space... 00:01:53.623 --> 00:01:57.746 Aura calcualta reveals two specific features: 00:01:59.156 --> 00:02:02.195 On the one hand the organ as an instrument, 00:02:02.880 --> 00:02:06.307 on the other hand the leading principle behind 00:02:06.332 --> 00:02:10.776 deciding when a pipe is playing 00:02:14.724 --> 00:02:17.406 and generating the fundamental composition 00:02:17.441 --> 00:02:19.305 of shifting tone pitches. 00:02:20.129 --> 00:02:21.863 Let's start simple: 00:02:24.719 --> 00:02:30.061 Here we have the organ pipe made of acrylic glas 00:02:30.866 --> 00:02:34.177 on the bottom there is valve system 00:02:34.202 --> 00:02:36.847 with an inflow and outflow valve 00:02:37.039 --> 00:02:43.094 connected to a central water reservoir. 00:02:44.599 --> 00:02:48.740 This results in changing water levels 00:02:49.000 --> 00:02:52.761 and consequently to varying sound pitches. 00:03:13.610 --> 00:03:16.031 For us as organbuilders 00:03:16.331 --> 00:03:19.376 Tim Otto Roth's project is exciting, 00:03:19.768 --> 00:03:22.398 as it is about sound and pipes in a different 00:03:22.529 --> 00:03:26.370 constellation than in a church or hand organ. 00:03:30.094 --> 00:03:34.039 Our part is to build the pipes, 00:03:35.724 --> 00:03:40.126 we are very curious on the final sound. 00:04:14.536 --> 00:04:17.732 Voicing the pipes 00:04:17.940 --> 00:04:21.740 I played with the available parameters 00:04:21.990 --> 00:04:24.763 to test different tones 00:04:25.779 --> 00:04:31.717 starting from A0 to A1 and then down to F#. 00:04:32.006 --> 00:04:34.060 For each constellation 00:04:34.130 --> 00:04:37.604 there is one optimal tone, a phenomenon linked to the "mensur". 00:04:38.007 --> 00:04:43.904 But with F# I could get two optimal tones. 00:04:43.997 --> 00:04:46.030 Even for me as an organ builder 00:04:46.356 --> 00:04:48.004 this was a new experience: 00:04:48.244 --> 00:04:50.822 How can a pipe generate 00:04:50.900 --> 00:04:53.843 perfect tone at two different levels? 00:04:55.067 --> 00:04:58.622 So for us this is a fascinating task 00:04:58.756 --> 00:05:03.664 also with regards to acoustic qualities. 00:05:10.956 --> 00:05:13.977 The second exciting aspect 00:05:14.094 --> 00:05:17.076 is the composition principle behind 00:05:18.989 --> 00:05:21.984 deciding when a pipe is playing 00:05:22.032 --> 00:05:28.411 and at what pitch speaking water level a pipe is playing. 00:05:28.711 --> 00:05:31.654 The setup starts in the following way: 00:05:33.490 --> 00:05:37.370 In the beginning all pipes drain 00:05:38.563 --> 00:05:40.292 after the inflow valves open 00:05:40.346 --> 00:05:41.752 the pipes fill up 00:05:41.809 --> 00:05:45.597 and balance with the reservoir in the center. 00:05:45.622 --> 00:05:47.500 So all the pipe have the same water level, 00:05:47.566 --> 00:05:52.372 that is to say all pipe start to play the same tone. 00:06:21.330 --> 00:06:23.947 Now, when plays a organ pipe? 00:06:24.083 --> 00:06:30.822 This depends on activity of the neighbours. 00:06:31.037 --> 00:06:35.432 This is a self-organization principle. 00:06:35.627 --> 00:06:39.767 Everybody knows that principle 00:06:39.806 --> 00:06:43.243 from a traffic jam or a football stadium. 00:06:43.322 --> 00:06:46.720 Just think about a "wave" in a football stadium. 00:06:46.994 --> 00:06:51.057 The wave is a prime example of a self-organization principle. 00:06:51.875 --> 00:06:55.453 You don't have a central conductor telling you when to stand up, 00:06:55.539 --> 00:07:01.070 but you just react locally on the activity of your neighbours. 00:07:01.095 --> 00:07:02.507 If the condition is fullfilled 00:07:02.570 --> 00:07:05.141 that my right neighbour stands up, 00:07:05.415 --> 00:07:08.408 then I stand up in the next step. 00:07:08.509 --> 00:07:11.689 If the condition is not fulfilled I sit down or keep sitting. 00:07:12.493 --> 00:07:17.821 If you start now to play slightly with that simple rule, 00:07:17.881 --> 00:07:20.412 for instance by taking out the direction, 00:07:20.451 --> 00:07:24.810 standing up exactly whent either my left or right neighbour stood up before, 00:07:25.787 --> 00:07:29.794 then you get a pattern, 00:07:29.974 --> 00:07:34.747 which differs radically from the circulation "wave" 00:07:35.930 --> 00:07:41.055 Every body knows this phenomenon from the traffic jam... 00:07:51.420 --> 00:07:55.693 Aura calculata functions according to a similar rule, 00:07:56.381 --> 00:08:01.748 which is illustrated in a separate column. 00:08:03.646 --> 00:08:05.782 It is a fascinating rule, 00:08:06.040 --> 00:08:10.555 as you can model patterns 00:08:10.860 --> 00:08:14.594 as for instance a growth pattern of a mussel 00:08:14.623 --> 00:08:19.477 from the Pacific ocean generating triangular shapes. 00:08:20.826 --> 00:08:23.264 There is yet another aspect you can observe: 00:08:23.412 --> 00:08:29.505 Step by step the water levels in the organ pipes are changing. 00:08:29.669 --> 00:08:32.942 Consequently this results in changing pitches. 00:08:34.122 --> 00:08:36.754 This creates a special atmosphere: 00:08:37.208 --> 00:08:38.966 All the pipes start with the same tone. 00:08:40.396 --> 00:08:46.264 Then gradually the water levels and the tone pitches are changing 00:08:47.673 --> 00:08:52.119 resulting in beats and standing waves in the space. 00:08:53.502 --> 00:08:55.650 This becomes more and more extreme, 00:08:55.845 --> 00:08:58.228 weaving a continuously changing sound tapestry. 00:09:03.775 --> 00:09:07.302 The dynamics of the changing water levels is all but arbitrary, 00:09:07.521 --> 00:09:10.138 as a pipe just anlyzes its own activity. 00:09:10.216 --> 00:09:13.286 It looks to its own acitivity in the recent four steps. 00:09:15.053 --> 00:09:18.810 In case the pipe tended to be more active, the inflow valve opens. 00:09:19.794 --> 00:09:23.954 If the pipe was less active, water flows out. 00:09:26.569 --> 00:09:31.686 This creates a complex continuously changing sound carpet. 00:09:59.846 --> 00:10:01.682 You don't compose anymore 00:10:01.885 --> 00:10:04.932 according to temporal parameters as intervals 00:10:06.486 --> 00:10:08.228 but according to spatial parameters. 00:10:08.299 --> 00:10:09.651 Here you have both: 00:10:10.385 --> 00:10:13.659 This is wonderful beginning of a music of the 21st century 00:10:13.721 --> 00:10:16.635 where the composition is yet spatial.