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In the 1940s, a Russian physicist named Andrey Kolmogorov predicted there would be a mathematical connection (now known as Kolmogorov scaling) between how a flow's speed fluctuates over time and the rate at which it loses energy as friction. That is, some turbulent flows exhibit energy cascades, whereby large eddies transfer some of their energy to smaller eddies. Another piece also incorporates 3D physics simulations of fluid flows, this time inspired by Vincent van Gogh's most famous painting, Starry Night.įurther Reading Swirling patterns in Starry Night match those in gassy star nurseriesīut there's also some hard science behind the connection. NASA published an image by the Hubble Space Telescope in 2004 of turbulent eddies of dusty clouds moving around a supergiant star, noting that this "light echo" was reminiscent of Starry Night. Two years later, a group of physicists from Spain, Mexico, and England mathematically analyzed the painting and concluded it shares the same turbulent features as molecular clouds (where literal stars are born)-perhaps reflecting the artist's turbulent state of mind when he created it. One of his installations explores color theory via a 3D fluid dynamics visualization of Monet's Seascape. More recently, Woolston has found particular inspiration in the physics of turbulence: strong, sudden movements within air or water, usually marked by eddies and vortices. "The point was to reframe how we understand sound with technology." I understand sound, I understand wavelengths and vibrations and how our ears interpret those things," said Woolston.
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"It allowed them to feel music through their bodies.
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But skin is quite sensitive to shifts in intensity and amplitude, and that's what the M:NI system exploits.įor the MMI installation-entitled Re-framed-Woolston and Patel incorporated M:NI haptic suits that could be worn by the entirely deaf audience. It can only detect between 10 Hz and 1,000 Hz, whereas our ears can hear frequencies as high as 20,000 Hz. Skin is a poor discriminator of frequency. It interfaces directly with a venue's sound system and sends electrical pulses (coordinated with colored LED lights) corresponding to various tracks in the music to the sensors against the skin.
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The basic kit includes two battery-powered wristbands, two ankle bands, and a harness that fits across the back and shoulders. Advertisementįurther Reading New wearable tech lets users listen to live music through their skin M:NI is designed to provide deaf and hearing users alike with a "vibrotactile" concert experience. The tech is called Music: Not Impossible (M:NI), and I wrote about it in 2018. In recent years, his focus has been on building large installations that combine sound and visuals in interesting ways.Ī couple of years ago, Woolston created an art installation for the Museum of the Moving Image in New York City with Levi Patel that made use of haptics technology. "I consider myself someone who loves to communicate the laws of the universe and what it means to be human." He's worked with astrophysicists at Cornell University who hunt for exoplanets, for instance, and wrote the music for a theatrical dance performance inspired by Washington State University research on glacier dynamics in Greenland. "I see scientists almost as magicians who are fantastic at understanding the world," he told Ars. Woolston has long merged his artistic work with his love of science, aiming to "recontextualize" physics and art both visually and with sound/music. ? /Kw93btpXhq- Jesse Woolston November 27, 2021 This installation and NFT communicates my experience. Throughout my life, I've had the same dream, being confronted with a blackhole and falling inward. My second #NFT, released on the 28th, will be part of an LED monolith installation built for the week of Art Basel.