(Music)
(音樂)
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.
你啱啱聽到嘅 就係從 2007 年諾爾颶風中記低嘅 氣壓、強風同溫度嘅協奏曲 音樂家演奏嘅其實係 一個立體嘅音樂數據圖 就好似呢個 每一粒珠,每一條線 都代表咗一種天氣元素 亦代表咗一種音符 我發現天氣好有趣 佢係由我哋大部分人都睇唔到嘅 各種系統構成嘅 所以,我利用雕塑同音樂 令佢「睇得到」 而且「掂得到」同「聽得到」
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.
我嘅創作一開頭都係好簡單 我係喺特定環境嗰度 用好低科技嘅工具收集資料 幾乎呢啲工具都可以 從平時嘅舖頭入邊買到 然後,我將我得到嘅呢啲資料 同我喺網上搵到嘅—— 從氣象站、海上浮標上得到嘅天氣數據 同埋衛星圖像——比較 既有歷史數據,亦有現實數據 然後,我將呢啲數字彙 編喺呢啲寫字板上面 就係你宜家睇到呢個 上面寫滿咗數字 再由呢啲數字出發 我由兩到三種變量開始
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.
成個「翻譯」過程就係噉開始 我嘅「翻譯」介質就係一個好簡單嘅籃 一個有橫向同縱向元素嘅籃 當我賦予數值畀呢啲橫向、縱向元素時 我就可以利用隨着時間變化嘅數值 嚟創造一種藝術形態 我用天然蘆葦 係因為天然蘆葦嘅韌性高 但你又無辦法完全控制到 噉意味著,唔係我 而係呢啲數字控制著形態 我最終得到嘅就係好似呢啲噉嘅形態 呢啲完全由天氣數據或者係科學數據 構成嘅形態 每粒彩珠,每條彩條 代表咗一種天氣元素 呢啲元素喺埋一齊 唔單單建構出一種形態 更建構咗一種二維圖表無法表達出嘅 一種元素之間嘅行為關係
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.
你如果行近啲,你會睇到 呢個完全係由數字建構而成嘅 呢啲垂直嘅元素代表一日之內鐘頭 所以,一個圈代表 24 小時 不過佢亦都包含咗溫度嘅範圍 喺呢個上邊,我可以加入潮漲讀數 水溫、氣溫同埋月相 我亦都將呢啲天氣數據轉化成音符 音符呢種方式,畀我可以更細膩 以更無損嘅方式翻譯訊息 所以呢啲音符都係由天氣數據編寫嘅
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.
每隻色、點、線都係一種音樂元素 加埋一齊 呢啲音樂元素就完成咗一份樂譜 我同音樂家合作演奏呢啲樂譜 呢個係「1913三重奏」樂隊 演奏緊我一件喺 Milwakee 藝術博物館 收藏嘅作品 同時,我又以呢啲樂譜作為藍本 將佢哋翻譯成噉樣嘅雕塑作品 令天氣可以立體噉睇得到 不過依家,佢哋嵌入咗音符 畀人讀到件樂譜
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.
我之所以鍾意呢件作品 係因為佢挑戰我哋對點定義 一種視覺語言係屬於藝術抑或科學 要點樣睇呢件作品,取決於你擺佢喺邊 如果你擺喺博物館入邊 佢就係件雕塑 擺喺科學博物館入邊 佢就變成咗一件立體嘅數據模型 你將佢擺喺音樂廳度 佢突然間就會變成咗一份樂譜 我好鍾意呢樣嘢 因為觀眾對於視覺語言係藝術 定係音樂嘅分類 真係被挑戰
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.
我鍾意呢個嘅另一個原因 就係佢提供咗另外一種 認識科學奧妙嘅方法 唔係所有人都係科學博士 所以對於我嚟講 呢個就係我了解科學嘅方法
Thank you.
多謝
(Applause)
(掌聲)