New Corporate Image + Sound for Museos de Tenerife

In collaboration with CTND No Quiet Design, I have been working on a project for a graphic/sound image for each of the individual centers that make up the group, Museos de Tenerife.  For more information, please see our blog. In collaboration with CTND No Quiet Design, I have been working on a project for a graphic/sound image for each of the individual centers that make up the group, Museos de Tenerife.

Nueva Identidad Corporativa, Museos de Tenerife

El equipo multidisciplinar formado por CTND No Quiet Design ha desarrollado la nueva identidad corporativa de Museos de Tenerife que aúna todos los museos que forman parte de este grupo: MNH Museo de la Naturaleza y el Hombre, MHA Museo de Historia y Antropología, MCC Museo de la Ciencia y el Cosmos y CEDOCAM, bajo una misma identidad. Esta intención de globalidad hace imprescindible que la marca trabaje de forma indisoluble entre  gráfico y sonido ampliando nuevas fronteras de diseño para todos.

El trabajo comienza con una profunda investigación sobre los museos y sus funciones. Realizamos fotografías y grabaciones de campo dentro de los paisajes únicos de la isla con el fin de contextualizar y capturar la esencia que hace especial a cada uno de estos museos y poder subrayar la calidad y exclusividad que ofertan en sus contenidos. Estudiamos costumbres populares, rituales y tecnologías de comunicación tradicionales isleñas como por ejemplo, el bucio, el silbo, y la música improvisada de influencias Americanas como el Punto Cubano, que han servido como periódico y memoria aural del pueblo… Este es el material que pasa a ser la raíz del proyecto para el desarrollo de la identidad corporativa de los museos.

Tras unir y analizar el material gráfico y sonoro obtenido, nace el concepto de frecuencia, de color, de texturas, de sonidos… que une a todos los museos dentro de un mismo espectro armónico.

Siguiendo el concepto de frecuencia, la imagen sonora de cada museo cubre un espectro de grave a agudo, con las vibraciones volcánicas subgraves  a un extremo, y una traducción de las oscilaciones del sol en frecuencias armónicas agudas en el otro, dejando el hombre/mujer y el va y viene de sus actividades en medio.

Cada entidad tiene una imagen sonora a base de sonidos reales grabados en los museos o en su entorno natural,  o han sido creados mediante instrumentos y objetos tradicionales.

Cada marca está formada gráficamente por una matriz común, “M”, que representa a Museos de Tenerife, con una línea horizontalfrecuencia fundamental desde donde nacen los museos individuales y los acrónimos de cada uno de ellos. La esencia de cada museo viene representada gráficamente por tres versiones:

  1. un color corporativo resultado del estudio de los colores de las imágenes representando a cada museo.
  2. las texturas fotográficas que variaran indefinidamente según las futuras necesidades de las aplicaciones en la marca.
  3. las ondas de las vibraciones gráficas que nacen a partir del sonido concreto del museo.

Esta idea de sonido, gráfico y textura tiene aplicaciones modulares e infinitas tanto para elementos gráficos tradicionales como para aplicaciones tecnológicas, de señalética, apps, internet …e incluso para que se pueda desarrollar con libertad e interactuar con el público.

Este proyecto ha incluido el desarrollo del manual de identidad corporativa para aplicaciones impresas, animaciones para aplicaciones interactivas y señalética en los museos.

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Overtime at Sound Proof 4

5 fotos OKBarbara Held – Yapci Ramos (Share the Applause) and Matt Davis

music by: Matt Davis, Barbara Held, Angharad Davies, Rhodri Davies, and Tom Chant
photography and video by Yapci Ramos,

13 November to 11 December 2011
Open Friday, Saturday and Sunday
12pm – 6pm

Unit 1A Canterbury Court
Kennington Park Business Centre
London SW9 6DE

+info
info@soundproofexhibitions.com

The energy and optimism of Barcelona during the 1992 Olympic games is contained for me in one joyful, almost photographic memory, and this project is an exploration of the possibilities of working with photography and music, to celebrate the individual creative actions that write the real Legacy, in spite of the official planning of these big cultural events.  I invited 5 very special artists whose personal and professional connections to each other branch out from the period of time of Barcelona’s emergence from the years of dictatorship as a culturally affirmative, outward looking society, willing to absorb the culture of the rest of Europe and the world, to create a legacy of excellence of artistic practice, emotion, memory and friendship. We made a series of 5 photographs of Barcelona locations with personal significance, and printed them on huge billboard paper. Yapci Ramos “performed” them on location at the construction site of the 2012 London Olympic Park, filming the changing light and reflected images that mixed with the still images. The visual composition that results is a 35 minute video. The soundtrack of our installation recreates the recording of a concert that Matt Davis gave in Barcelona 20 years ago as a score to be interpreted by 5 musicians, 5 solos. “Overtime” rebuilds the future reflected in the Barcelona past as in the title of one of our photographs, “I want to see you shining”.

Resonance FM live broadcast, November 13, 2011, solos by: Matt Davis, Barbara Held, Angharad Davies, Rhodri Davies, and Tom Chant

A Dream 2010-2011

Video, Yapci Ramos – Sound, Barbara Held

(please listen with headphones or good speaker system for low frequencies)

A Dream
video installation

In 2010 Yapci Ramos travelled to Angola as a guest artist-in-residence at the 2nd Trienal de Luanda. Eight years after the end of thirty years of Cival War she filmed El Gaieta and Mussamba, the national and regional boxing champions, in a fight held exclusively for her benefit. The soundtrack is a mixture of the ambient sound of the hall during the fight and a recording of 10,000 Harley Davidson motorbikes crossing through the city of Barcelona.
Hace años practiqué boxeo. La lucha cuerpo a cuerpo. La distancia fija. El movimiento. Golpe. Suelo…En 1922 Siki fue el primer campeón mundial de boxeo nacido en África. Viajé a Angola como invitada artista en residencia por la II Trienal de Luanda en 2010. Ocho años atrás Angola salía de una Guerra Civil de tres décadas. Filmé a los campeones nacional y regional de boxeo, “El Gaieta” y “Mussamba” en una pelea que se celebró en exclusiva para mí. El sonido es la mezcla del ruido ambiental del pabellón durante el encuentro y la grabación de 10.000 motocicletas Harley Davidson circulando por la ciudad de Barcelona. Yapci Ramos

Video: Yapci Ramos
Sound: Barbara Held
Media: Digital Video HD / 1 Horizontal Video Channel
Stereo sound system + Subwoofer
Duration: 2 ́18 ́ ́
Edited Loop
Year: 2010-2011
Luanda

Presented at:
Centro de Arte La Regenta, 6 Nov.-10 Jan, 2014, Las Palmas de Gran Canaria
CCET Centro Cultural de España en Tegucigalpa, 2014, Honduras
Sin escala. Nuevas coordenadas del arte en Canarias, DA2 de Salamanca, 2013-2014, Spain
Solyanka State Gallery, Moscow, 2011, Rusia
XII BAC Barcelona Arte Contemporáneo, Barcelona, 2011, Spain

Sponsored by:
Spanish Government Ministry of Foreign Affairs
Canary Island Goverment
Trienal Luanda

Project selected Dual Year Russia-Spain 2011

Sound Proof Festival, London 2012

Overtime

Barbara Held – Yapci Ramos (Share the Applause) and Matt Davis

photography and video by Yapci Ramos     performances by: Matt Davis, Barbara Held, Rhodri Davies, Angharad Davies and Tom Chant

The energy and optimism of Barcelona during the 1992 Olympic games is contained for me in one joyful, almost photographic memory.  Our personal and professional connections to each other branch out from that time, a legacy of excellence of artistic practice, emotion, memory and friendship. A series of 5 photographs of Barcelona locations with personal significance interact and become part of the landscape of the construction site of the 2012 London Olympic Park.  The soundtrack of our installation recreates the recording of a concert that Matt gave in Barcelona 20 years ago as a score to be interpreted by 5 musicians. “Overtime” rebuilds the future reflected in the Barcelona past as in the title of one of our photographs, “I want to see you shining”.

http://soundproofexhibitions.com/

follow http://barbaraheld.tumblr.com/

latest photos

 

Migra

Toni Serra made this video accompanying music by Barbara Held that was originally composed for a piece by choreographer Nancy Zendora. Sounds recorded on location by Bob Bileki and Connie Kieltyka.

CEL.LA DE SORRA
Mal que sigui amb aucs
d’atzembler, l’adalil
del nadir s’avé
a badar la boca al vent
de xaloc, a contrafur
dels xabecs de l’atzar.

Així, com balla l’aigua
als ulls, l’aixeb eixirà
a la babalà, a l’aduar
almohade, malbaratat
pels almanjanecs
assassins d’icones
mutazilites.

Aquests, entercs com el caluix
de l’atzavara, solten
els rocs
i aquí terra deixo el gec,
tot empedregant
l’alduf
de l’atzur
en nom dels almagests.

ESTER XARGAY

State of the Sea 2009

Issue Project Room NYC, 7/22/10
“Floating Points Festival” curated by Stephan Moore

A proposal by Barbara Held, commissioned by and realized with the technical support of the Orquesta de Caos and the collaboration of Jorge Guillen and Marta Martinez of the Institut de Ciencies del Mar, CMIMA, Barcelona. 

When the Zeppelin Festival 2009 invited me to perform with their 8-channel sound system, a series of events lead me to a meditation on nature and technology. While listening to the weather report on my car radio, for the first time I noticed that the state of the sea, the “estat del mar”, was included in the weather forecast. “Marejol”, such a beautiful word to name a certain waviness of the sea. I investigated a bit more, and found that scientists have developed the Douglas Scale, an international table of categories to name the states of the sea in the major European languages, and in keeping with the character of each language, the names sound more or less poetic. The categories for “wind sea” in Italian, for example, (quasi calmo, molto agitato, molto grosso) sound like music notation, and in Catalan they appear to come from the traditional terms used by seagoing people. I also recalled reading the news about a giant wave (26,13 meters) that was measured off the coast of Santander during one of last winter’s major storms. The buoy belonging to the Instituto Español de Oceanografía (IEO) that made the measurement was actually broken from its mooring and carried away as far as San Sebastian. Scientists of the sea are constantly measuring the levels and movements of water, and that data is available online. The Coastal Monitoring Station of Barcelona, ICM-CSIC, maintains a system of a number of permanent devices continuously measuring different parameters of the coastal zone and systematic (monthly) surveys assessing environmental factors. This information is available as a series of daily photographs of a segment of the coastline, a monthly composite movie, as well as numerical data and graphs. The scientists who are using the data received from the system of buoys up and down the Catalan coast have made it available to me to use in this piece. Interestingly, Jorge Guillen of the Institut de Ciencies del Mar, CMIMA, is a specialist in beaches, the “line” between the dry land and the sea.

Specialists in acoustics use sensitive instruments to measure and record the resonance of real spaces in order to reproduce them digitally and create recordings of music or movie sound tracks that sound more realistic, approaching 3D sound. I was fascinated to discover that the special microphones and sensors that are used to capture the reverberation of an architectural space use heat to measure acoustic particle velocity, a translation of data that is similar to the way marine scientists measure the pressure of water in order to calculate the height of waves.

For the past three months I have been living with a beautiful book called Goethe & Palladio, Goethe’s study of the relationship between art and nature, leading through architecture to the discovery of the metamorphosis of plants. Goethe and Palladio, David Lowe/Simon Sharp, Lindesfarne Books, 2005
Inspired by the poet Goethe’s scientific approach of “knowing – from the inside”, so similar in spirit to Pauline Oliveros’ life-long practice of deep listening, I have approached the creation and performance of the State of the Sea as a classically trained flutist exploring natural acoustic space, as well as the electronic synthesis and reproduction of sound by using “real seeing/listening” – what Goethe called an “exact sensory imagination”, basic to both scientific and artistic study.

State of the Sea is a sonification of data from measurements of the sea including the famous storm in December of 2008 that reshaped the beaches of Barcelona. The data creates sound and controls the volume or movement of music through a multi-speaker system, translating one kind of natural movement into another perception of movement, sound vibrations, interacting in architectural space. In his Quattro Libri, Palladio defines architecture as “the transformation of space”. Music, as in all the creations of nature, is perceived as a “vibrant field of formative processes”. (Gordon L. Miller, Introduction to Goethe’s The Metamorphosis of Plants, MIT Press, p. viv)

“When man’s nature functions soundly as a whole, when he feels that the world of which he is part is a huge, beautiful, admirable and worthy whole, when this harmony gives him pure and uninhibited delight, then the universe, if it were capable of emotion, would rejoice at having reached its goal and admire the crowning glory of its own evolution. For, what purpose would those countless suns and planets and moons serve, those stars and milky ways, comets and nebulae, those created and evolving worlds, if a happy human being did not ultimately emerge to enjoy existence?” (Goethe, Essays on Art, p101)

Many thanks to Carlos and Elmer, Stephan Moore, Sam Roig, Jorge Guillen and Marta Martinez, Oscar Chic, Pauline Oliveros, Nil Tous.

fragment of sonification CSIC data mapping sea movements, temperature and wave height

hand program, concert at Issue Project Room 7/22/10

 

 

 

 

 

 

 

 

 

download pdf
Hand program, State of The Sea
graphic design: Yapci Ramos, photos: Bruce Mowson

 

 

Floating Points Festival, Issue Project Room 7/2 – 7/30 2010

curated by Stephan Moore
http://issueprojectroom.org/
See Wall Street Journal Article

view from Issue Project Room

concerts by:
Leslie Ross, Philip White, Carver Audain, Richard Francis, Jesse Stiles, Andrew Neumann, Dafna Naphtali, Bora Yoon
Kaffe Matthews, John Butcher, The Please, MV Carbon, NRA (Nakatani, Rawlings, Arias), Sebastien Roux, Barry Seroff, Barbara Held, Volume (III) (Thorpe, Chavez, Burgon, Moore), Blevin Blectum, Cecilia Lopez, Tucker Dulin, Lee Patterson, Jascha Narveson, Lainie Fefferman w/ Matt Welch, Micah Silver, backbreakerneckbrace

State of the Sea 12/09

Next performance of State of the Sea at Issue Project Room, Brooklyn, NY
July 22, 2010
for oceanographic observations off the coast of Massachusetts:
Martha’s Vineyard Coastal Observatory
A proposal by Barbara Held, commissioned by and realized with the technical support of the Orquesta de Caos and the collaboration of Jorge Guillen and Marta Martinez of the Institut de Ciencies del Mar, CMIMA
Festival Zeppelin, 2009, Friday, December 11 at 9 PM

Centre Mediterrani d’Investigacions Marines i Ambientals del CSIC
From the beaches in front of the Barcelona Olympic Harbour, a number of permanent devices continuously measure different parameters of the coastal zone. Every daylight-hour the cameras get one picture per second for a ten-minute period (see photos and monthly movie), and wave and current data is gathered.

Notes on State of the Sea – About measuring and naming, scientific and artistic study

When the Zeppelin Festival 2009 invited me to perform with their 8-channel sound system, a series of events lead me to a meditation on nature and technology. While listening to the weather report on my car radio, for the first time I noticed that the state of the sea, the “estat del mar”, was included in the weather forecast. “Marejol”, such a beautiful word to name a certain waviness of the sea. I investigated a bit more, and found that scientists have developed the Douglas Scale, an international table of categories to name the states of the sea in the major European languages, and in keeping with the character of each language, the names sound more or less poetic. The categories for “wind sea” in Italian, for example, (quasi calmo, molto agitato, molto grosso) sound like music notation, and in Catalan they appear to come from the traditional terms used by seagoing people. I also recalled reading the news about a giant wave (26,13 meters) that was measured off the coast of Santander during one of last winter’s major storms. The buoy belonging to the Instituto Español de Oceanografía (IEO) that made the measurement was actually broken from its mooring and carried away as far as San Sebastian. Scientists of the sea are constantly measuring the levels and movements of water, and that data is available online. The Coastal Monitoring Station of Barcelona, ICM-CSIC, maintains a system of a number of permanent devices continuously measuring different parameters of the coastal zone and systematic (monthly) surveys assessing environmental factors. This information is available as a series of daily photographs of a segment of the coastline, a monthly composite movie, as well as numerical data and graphs. The scientists who are using the data received from the system of buoys up and down the Catalan coast have made it available to me to use in this piece. Interestingly, Jorge Guillen of the Institut de Ciencies del Mar, CMIMA, is a specialist in beaches, the “line” between the dry land and the sea.

Specialists in acoustics use sensitive instruments to measure and record the resonance of real spaces in order to reproduce them digitally and create recordings of music or movie sound tracks that sound more realistic, approaching 3D sound. I was fascinated to discover that the special microphones and sensors that are used to capture the reverberation of an architectural space use heat to measure acoustic particle velocity, a translation of data that is similar to the way marine scientists measure the pressure of water in order to calculate the height of waves.

For the past three months I have been living with a beautiful book called Goethe & Palladio, Goethe’s study of the relationship between art and nature, leading through architecture to the discovery of the metamorphosis of plants. Goethe and Palladio, David Lowe/Simon Sharp, Lindesfarne Books, 2005
Inspired by the poet Goethe’s scientific approach of “knowing – from the inside”, so similar in spirit to Pauline Oliveros’ life-long practice of deep listening, I have approached the creation and performance of the State of the Sea as a classically trained flutist exploring natural acoustic space, as well as the electronic synthesis and reproduction of sound by using “real seeing/listening” – what Goethe called an “exact sensory imagination”, basic to both scientific and artistic study.

State of the Sea is a sonification of data from measurements of the sea including the famous storm in December of 2008 that reshaped the beaches of Barcelona. The data creates sound and controls the volume or movement of music through a multi-speaker system, translating one kind of natural movement into another perception of movement, sound vibrations, interacting in architectural space. In his Quattro Libri, Palladio defines architecture as “the transformation of space”. Music, as in all the creations of nature, is perceived as a “vibrant field of formative processes”. (Gordon L. Miller, Introduction to Goethe’s The Metamorphosis of Plants, MIT Press, p. viv)

“When man’s nature functions soundly as a whole, when he feels that the world of which he is part is a huge, beautiful, admirable and worthy whole, when this harmony gives him pure and uninhibited delight, then the universe, if it were capable of emotion, would rejoice at having reached its goal and admire the crowning glory of its own evolution. For, what purpose would those countless suns and planets and moons serve, those stars and milky ways, comets and nebulae, those created and evolving worlds, if a happy human being did not ultimately emerge to enjoy existence?” (Goethe, Essays on Art, p101)

Many thanks to Carlos and Elmer, Stephan Moore, Sam Roig, Jorge Guillen and Marta Martinez, Oscar Chic, Pauline Oliveros, Nil Tous.

More Links:
The State of the Sea
The “wind sea” is the motion of the waves generated by the wind blowing directly on the observed sea area or in its immediate vicinity

“Color is less a trope of indeterminacy than a way to re-create an almost visceral experience of our impossible desire to name our perceptions.”
Spencer Finch

Het Visboek, Adriaen Coenen
16th century scientific observation of the creatures of the sea.