Nathalie Miebach: Art made of storms

Translator: Lenka Tušar Reviewer: Tilen Pigac - EFZG

(Music)

(Glasba)

What you just heard

Kar ste pravkar slišali,

are the interactions of barometric pressure, wind and temperature readings

je kombinacija barometričnega tlaka ter zapisov vetra in temperature,

that were recorded of Hurricane Noel in 2007.

posnetih v času divjanja hurikana Noel leta 2007.

The musicians played off a three-dimensional graph of weather data like this.

Glasbeniki so odigrali tridimenzionalni graf vremenskih podatkov, kot je ta.

Every single bead, every single colored band,

Vsaka kroglica, vsaka barvna paličica

represents a weather element

predstavlja enega od vremenskih elementov,

that can also be read as a musical note.

ki ga lahko odčitamo tudi kot glasbeno noto.

I find weather extremely fascinating.

Vreme me izjemno navdušuje.

Weather is an amalgam of systems

Vreme je mešanica sistemov,

that is inherently invisible to most of us.

ki je večini od nas sama po sebi nevidna.

So I use sculpture and music

Zato preko skulptur in glasbe

to make it, not just visible,

naredim vreme ne le vidno,

but also tactile and audible.

pač pa tudi otipljivo in slišno.

All of my work begins very simple.

Vsa moja dela se začnejo zelo preprosto.

I extract information from a specific environment

Iz določenega okolja pridobim informacije

using very low-tech data collecting devices --

z uporabo zelo enostavnih naprav za zbiranje podatkov --

generally anything I can find in the hardware store.

praktično vse lahko dobim v trgovini s tehnično opremo.

I then compare my information to the things I find on the Internet --

Podatke nato primerjam s tistimi na internetu --

satellite images, weather data

s satelitskimi posnetki in vremenskimi podatki

from weather stations as well as offshore buoys.

z vremenskih postaj in boj na morju.

That's both historical as well as real data.

Ti podatki so tako pretekli kot aktualni.

And then I compile all of these numbers on these clipboards that you see here.

Številke nato vnesem na take podložne mape.

These clipboards are filled with numbers.

Te mape so polne številk,

And from all of these numbers,

od katerih

I start with only two or three variables.

pa začnem le z dvema ali tremi spremenljivkami.

That begins my translation process.

S tem se začne prevajalski postopek,

My translation medium is a very simple basket.

sredstvo prevajanja pa je zelo preprosta košara.

A basket is made up of horizontal and vertical elements.

Košaro sestavljajo vodoravni in navpični elementi.

When I assign values to the vertical and horizontal elements,

Ko tem elementom določim vrednosti,

I can use the changes of those data points over time

lahko preko sprememb podatkovnih točk v času

to create the form.

ustvarim obliko.

I use natural reed,

Za pletenje košare uporabljam naravno trstičje,

because natural reed has a lot of tension in it

saj je zanj značilna napetost,

that I cannot fully control.

ki je ne morem popolnoma nadzorovati.

That means that it is the numbers that control the form,

To pomeni, da obliko določajo številke,

not me.

ne jaz.

What I come up with are forms like these.

Končni rezultat so telesa, kot je to.

These forms are completely made up

Te oblike so v celoti osnovane na

of weather data or science data.

vremenskih ali znanstvenih podatkih.

Every colored bead, every colored string,

Vsaka barvna kroglica, vsak obarvan niz

represents a weather element.

predstavlja vremenski element.

And together, these elements, not only construct the form,

Skupaj vsi ti elementi ne le sestavljajo obliko,

but they also reveal behavioral relationships

pač pa tudi razkrivajo vedenjske odnose,

that may not come across

ki ne bi bili vidni

through a two-dimensional graph.

v dvodimenzionalnem grafičnem prikazu.

When you step closer, you actually see

Če pogledate od blizu, lahko vidite,

that it is indeed all made up of numbers.

da dejansko vse sestoji iz številk.

The vertical elements

Navpičnim elementom

are assigned a specific hour of the day.

pripišem določeno uro v dnevu.

So all the way around, you have a 24-hour timeline.

Okrog in okrog torej teče časovni niz 24 ur.

But it's also used to assign a temperature range.

Prav tako pa je predstavljen tudi temperaturni razpon.

On that grid, I can then weave the high tide readings,

Na tako mrežo nato lahko vtkem podatke o plimi,

water temperature, air temperature and Moon phases.

temperaturi vode in zraka ter Lunine mene.

I also translate weather data into musical scores.

Vremenske podatke prevedem tudi v partiture.

And musical notation allows me a more nuanced way

Notni zapis mi namreč omogoča bolj niansiran način

of translating information

prevoda podatkov,

without compromising it.

ne da bi jih bilo treba poenostaviti.

So all of these scores are made up of weather data.

Tako so vsi ti notni zapisi osnovani na vremenskih podatkih.

Every single color, dot, every single line,

Vsaka barva, pika, vsaka črta

is a weather element.

je vremenski element.

And together, these variables construct a score.

Vse te spremenljivke skupaj pa sestavljajo partituro,

I use these scores to collaborate with musicians.

preko katerih sodelujem z glasbeniki.

This is the 1913 Trio

To je Trio 1913,

performing one of my pieces

ki izvaja enega mojih del

at the Milwaukee Art Museum.

v Muzeju umetnosti Milwaukee.

Meanwhile, I use these scores as blueprints

Istočasno so ti notni zapisi načrti za

to translate into sculptural forms like this,

oblike skulptur, kot je ta,

that function still in the sense

ki še vedno delujejo kot

of being a three-dimensional weather visualization,

tridimenzionalni prikaz vremena,

but now they're embedding

hkrati pa vsebujejo

the visual matrix of the musical score,

vizualni vzorec glasbenega zapisa

so it can actually be read as a musical score.

in ga lahko kot takega tudi beremo.

What I love about this work

Kar mi je pri tem delu všeč, je,

is that it challenges our assumptions

da spodnaša naše predpostavke,

of what kind of visual vocabulary belongs in the world of art, versus science.

kakšen vizualni zaklad spada v svet umetnosti in kakšen v svet znanosti.

This piece here is read very differently

To delo tu lahko beremo na različne načine,

depending on where you place it.

odvisno od kraja postavitve.

You place it in an art museum, it becomes a sculpture.

V muzeju umetnosti postane umetniška skulptura.

You place it in a science museum,

V naravoslovnem muzeju

it becomes a three-dimensional visualization of data.

postane tridimenzionalni prikaz podatkov.

You place it in a music hall,

V koncertni dvorani

it all of a sudden becomes a musical score.

pa postane glasbeno delo.

And I really like that,

To mi je še posebej všeč,

because the viewer is really challenged

saj opazovalcu dà misliti,

as to what visual language

kakšen vizualni jezik je del znanosti,

is part of science versus art versus music.

kakšen umetnosti in kakšen glasbe.

The other reason why I really like this

Drug razlog, zaradi česar mi je všeč, pa je,

is because it offers an alternative entry point

da ponuja alternativni pristop

into the complexity of science.

k znanstveni kompleksnosti.

And not everyone has a Ph.D. in science.

Nima namreč vsakdo doktorata v znanosti.

So for me, that was my way into it.

To je bil torej moj način videnja.

Thank you.

Hvala lepa.

(Applause)

(Aplavz)