No Other Hands Like Mine : Raewyn Turner & Brian Harris 2016
Electronic art work: data synaesthesia for the ears, eyes and hands.
When the moss is lightly stroked it creates data which is fed through codes and algorithms which translate it into both piano notes and data numbers. An eftpos machine adds up the data and prints a receipt.
Data simulations are becoming more meaningful than the reality from which we craft our identity and sense of belonging and place.
Using the sense of touch and the emotions that arise from touching a living plant to explore bringing together biology and technology, we’ve made interdata correspondences to create an experience that refers to synesthesia, sensation and machine interpretation.
The program to generate sound contains a matrix of piano voice notes – each row represents a scale and each column represents a note in that scale. The strain gage sensor feeds into a microprocessor which measures a voltage dependent on the amount and position of pressure and chooses a row in the matrix. Notes in two specific columns are first played with varying arpeggiation and interval followed by the 12 notes in random order from the same row, also arpeggiated.
Note on the 'moss land' : British environmentalist Sir Jonathon Porritt said New Zealand had suffered “a phenomenal amount” of environmental damage, from industry in pursuit of private wealth. He has expressed concern at the extent that businesses have been allowed to create wealth at the expense of the environment.
Exhibited: 25th Annual Wallace Art Awards exhibition No Other Hands like Mine