(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.
你剛聽到的 是錄自2007年颶風諾埃爾(Noel) 的氣壓、風速和氣溫的讀數的互動。 音樂家按這樣一個天氣數據的立體圖型來演奏。 每一粒珠子,每一粒顏色的珠子, 都代表了一個可以閱讀為音符 的一個天氣元素。 我覺得天氣非常令人著迷。 天氣對大家來說本質上是無形的 是多個系統的混合體。 所以我利用雕塑和音樂來創造它, 不單只使它可看得到, 還可摸得到和聽得到。
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.
我的做法很簡單。 我以非常低科技的儀器 -- 一些隨便可在五金店能買到的 -- 從特定環境中收集信息。 然後我把信息跟在互聯網上找到的東西 -- 衛星影像,天文台的天氣數據, 以及海上的浮標比較。 那些是歷史的,又是實時的數據。 然後我把這些數字在你看到的這些剪貼板上組合起來。 這些剪貼板都佈滿數字。 而在這些數字裡, 我只從兩三個變數開始。 就這樣開展我的翻譯流程。
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.
我翻譯的媒介是一個很簡單的籃子。 一個由橫向和縱向元素造成的籃子。 當我把數值配置在縱向和橫向的元素上, 我可以用這些數據隨時間遷移的變化 來創造型狀。 我使用天然蘆葦, 因天然蘆葦很有彈性 令我無法完全控制它。 這意味著是數字,而不是我, 控制這型狀。 我造出了像這些的很多型狀。 這些型狀完全根據 天氣或科學數據構造出來。 每一粒顏色珠子,每一條顏色線條, 代表一個天氣元素。 加起來,這些元素,不單只構成其型狀, 也揭示了 在平面上不會遇到 的行為關係。
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.
當你靠近些,你實際上可看到 它確實是由數字構成的。 縱向的元素 配上了一天內的特定時間。 繞一圈是24小時的時間線。 但它同時配上了一個氣溫的區間。 在那個網格上,我編織上潮水漲退讀數, 水溫、氣溫和月亮盈虧。 我也把天氣數據譯成音符。 樂譜又容許我在無損其內容的情況下 更細緻入微地 翻譯信息。
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.
所以這些音符都是來自天氣數據。 每種顏色,每一點,每條線 都是一個天氣元素。 加起來,這些變數組成了一個樂章。 我用這些樂章跟音樂家合作。 這是1913三人組 在密爾沃基藝術博物館 演奏我的一篇作品。 同時,我以這些樂章作為藍圖 演譯成這樣的雕塑 使它仍有 立體視覺化的氣象的感覺, 但現在又包含了 樂章的視覺矩陣, 而實際可解讀成一篇樂章。
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.
我熱愛這工作的原因是 它挑戰了那一種視覺詞彙屬於藝術, 那一種屬於科學的假設。 這件作品會根據它放置的地方 有不同的解讀。 放它在藝術博物館,它便是雕塑。 放它在自然博物館, 它變成立體視覺化的數據。 放它在音樂廳, 它突然間又變成了一篇樂章。 我真的很喜歡這樣, 觀眾真正受到挑戰, 究竟視覺語言 是屬於科學,藝術,還是音樂的一部份?
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.
另一個我實在喜歡這樣的原因, 是它提供了進入科學的複雜性的 另一個切入點。 我們並非每一個人都擁有自然科學的博士學位。 對我來說,這是我進入這片天地的方法。
Thank you.
謝謝。
(Applause)
(掌聲)