Copper

The open circuits of the earth pre-date those closed metallic structures of wire, metals, resistors, capacitors and signal. [Parikka] Signal is, of course, naturally in and of the Earth and the approach of psychogeophysics embraces this earth signal (Earth Sound Earth Signal – Douglas Kahn) to open back up the connection between us and earth. This has been occurring in the field of sonic arts since mid-twentieth century – exploring materials and their sonic properties / acoustics as well as the wider fields of electromagnetism. The South West has a history of extracting the metals of the earth – the soil is electromagnetically rich with copper – ripe for earth circuit practices. Inspired by Martin Howse’s Earth Computing – the copper in the soil investigated through probing for potential sonic interference. Need to re-read Graham Harwood’s short text, along with Raqs Collective, ‘Aluminium’ [2008]. The earth has the signal and dirt (dust) and decay and life for developing next stages of practical work. Copper is essential for the creation of D.I.Y solar cells for light measurement and modulated signal reception – the earth measures. The work begins to move to acknowledge the anthropocene in a direct way. METALLURGY.

Read – Parikka, Kahn, Howse, Harwood, Morton, Bryant, Deleuze, Bennett

Steganography

Steganography – the process of hiding in plain sight. The unknown signal beneath the surface. Potentially interesting insight from science fiction – remember the ‘listening bugs’ from Ray Bradbury’s Fahrenheit 451. Communication devices hidden from sight – they are there but only found if you actually know they are there. Dates back to ancient China where slaves were shaved and tattooed with information, then, once the hair grows back, they could travel across borders of villages, towns, Countries containing a hidden message – transmitting a hidden message. By modulating an LED at audio amplitude (mimicking AM Radio) it is possible to transmit a clear audio signal hidden within light playing with what is there and possible to be experienced by an audience. How can this be performed? Various devices / tools / instruments have therefore been developed through playful workshops to explore this fascinating process for the purposes of understanding the technology or building an installation or developing a performance. Once we have this hidden signal to transmit we are now able to manipulate audio using visual devices (is metaphor at play in here? – this was asked of me during a recent exhibition installation), for example, mirrors to ‘bend’ sound around physical architecture.

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