SOLARIZER: The solar power synthesiser.

Laura P. Gracia. CRiSAP Creative Research in Sound Art Practice – LCC London College of Communication – UAL University of Arts London. UK.

lauraplanagracia@gmail.com : http://netzzz.net/

The Solar Sound Bots create a jungle full of animals sound. What if robots activate self-educated in an environment where they are exposed to multiple stimuli (sound, light, human presence)? The idea is to see the evolution of the sound with which to investigate environment. Instead of using a digital network, we will use the bots’ sensitivity to light and synthesise and analyse the environment. The sounds perceptible to humans a non-human sound a technological fabrication that helps us understands more about the light that surrounds us and the natural environment that produces these lights. All sensors used are light sensible. The experiment pretends to introduce a new ethical dimension in music production and broaden the senses to more environmental sounds. The test acts to add the organic use of solar cells. It is based on DIY cultures and so, defies the values of progress that powerful mainstream technologies are establishing.

DESCRIPTION:

The SOLARIZER is a solar power synthesiser. It is built from workshops with Solar Sound Bots and Solar Cell Synthesizers. The results is an experimental electromagnetic noise with D.I.Y. circuitry: oscillators, timers, LDR, induction coils, solar cells, IC Schmitt Triggers & light sources (natural environmental light, projectors, lamps, strobes). The experiment consists of natural low voltage components – solar cells from 3v to 12v – that supply low output devices. The oscillators, based on different integrated circuits (IC) control 3V to 12V input and transform it into sound. These produce a repetitively modulated wave that could be a triangle-wave or square-wave. The light sources control the circuits modulating the signal, in other words, the light triggers sonic signals. In a sound/light integration, the modulation of tone activates an interactive system based on DIY circuitry. It is a self-generated sonic machine creating a syncopated, high-pitched, noisy beep (Frances Dyson, The tone of our Times, The MIT Press). The result is a rhythmic noise performance based on saturation and collapse. The triggering of the sonic signal through different media devices causes an innovative sound circuitry based on new bio-sonic materialism practices that try to move forward cutting edge sound development. It also investigates Simondon’s transduction effects. The solarizer consists of different sorts of works based on solar cell input. During the workshops, the artist developed different models of DIY solar cell synthesisers. There are mainly three models.

• One relies on the 3v solar cell, with the IC 74HC14, developed by Ralf Schreiber. It does not require to be mounted on PCB board, so its final appearance resembles a Bot.
• Other models use the IC 4093 with 5v, 9v, and 12v solar cell.
• The IC 40106 reacts to the 9v solar cell. It is as well reacting to 12v solar cell and 15v.

With the workshop, it has demonstrated that different solar sound bots and solar cell synthesisers create new and different wave sounds. The experiment pretends to introduce a new ethical dimension in music production and broaden the senses to more environmental sounds. The test acts to add the organic use of solar cells. It is based on DIY cultures and so, defies the values of progress that powerful mainstream technologies are establishing.The result is a jungle full of animals sound. What if robots activate selfeducated in an environment where they are exposed to multiple stimuli (sound, light, human presence, etc.)?The idea is to see the evolution of the sound with which to investigate environment. Instead of using a digital network, we will use the bots’ sensitivity to light and synthesise and analyse the environment. The sounds perceptible to humans a non-human sound a technological fabrication that helps us understands more about the light that surrounds us and the natural environment that produces these lights. All sensors used are light sensible.

AUTHOR BIOGRAPHIE(S):

Laura Plana Gracia (Barcelona, 1982). Currently PhD Student at CRiSAP. Curator, artist and researcher established in London since 2009. She has studied the history of art and media art and is interested in electronic arts, art, science and technology and digital media. Participant at hacking culture and noise scene has taken part in many international events, such as exhibitions, workshops, conferences, and concerts, in Spain, UK, Mexico, Colombia, Canada, Serbia, and Russia. As a Live Performer, she has acted in various festivals and events in London and overseas. To highlight Noizemaschine, London;  XX Studio, Montreal, Canada, 2015; Noise Toys Orchestra, with Tasos Stamou, Cafe Oto Project Space,

London, 2015; Sonica FM, London, 2015; OneBeatEcho, US, 2014; Improvised Electronic Round Up, New York, 2014. In 2015, she launched her independent record label EAM Elektronische-art-and-music, with the album supporting the exhibition curated at Fonoteca Nacional de Mexico. She is well-known in London noise scene where she performs under the moniker Medial Ages. Recently, has set up Laboratory Nature & Technology, an independent and experimental space located in northern region of the Pyrenees. Creating practices based in the embodiment among nature and technology its aims are to transfer the contemporary needs of technological society to ancestral nature and paradisiacal environments. Laboratory promotes an ecological use of technology and seeks recovery of the rural heritage. Its activities are hiking in Natural Reserves and D.i.Y. Workshops. http://netzzz.net/laboratory/  http://netzzz.net/