Nathalie Miebach: Art made of storms

Prevodilac: Anastazija Langer Lektor: Radica Stojanović

(Music)

(Muzika)

What you just heard

Ono što ste upravo čuli

are the interactions of barometric pressure, wind and temperature readings

je interakcija vazdušnog pritiska, vetra i očitavanja temperature,

that were recorded of Hurricane Noel in 2007.

koja su snimana kod uragana Noel 2007. godine.

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

Muzičari su odsvirali trodimenzionalni grafikon vremenskih podataka, kao što je ovaj.

Every single bead, every single colored band,

Svaka pojedinačna perla, svaka obojena traka,

represents a weather element

predstavlja vremenski element

that can also be read as a musical note.

koji se takođe može čitati kao muzička nota.

I find weather extremely fascinating.

Smatram da je vreme izuzetno fascinantno.

Weather is an amalgam of systems

Vreme je mešavina sistema

that is inherently invisible to most of us.

koja je prirodno nevidljiva za većinu nas.

So I use sculpture and music

Zato, ja koristim skulpturu i muziku

to make it, not just visible,

da bih ga učinila, ne samo vidljivim,

but also tactile and audible.

već opipljivim i zvučnim.

All of my work begins very simple.

Sav moj posao počinje vrlo jednostavno.

I extract information from a specific environment

Izvodim informacije iz određene sredine

using very low-tech data collecting devices --

koristeći tehnički veoma primitivne uređaje za prikupljanje podataka --

generally anything I can find in the hardware store.

generalno sve što mogu naći u gvožđarskoj radnji.

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

Nakon toga, upoređujem svoje informacije sa stvarima koje pronađem na internetu --

satellite images, weather data

satelitske fotografije, podatke o vremenu

from weather stations as well as offshore buoys.

iz meteo-stanica kao i sa bova u blizini obale.

That's both historical as well as real data.

To su i istorijski i stvarni podaci.

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

Nakon toga, sastavljam sve brojeve na ovim malim tablama koje možete da vidite ovde.

These clipboards are filled with numbers.

Ove male table su ispunjene brojevima.

And from all of these numbers,

I od svih tih brojeva,

I start with only two or three variables.

započinjem sa samo dve ili tri varijable.

That begins my translation process.

Ovim počinje proces mog prevođenja.

My translation medium is a very simple basket.

Moj medij za prevođenje je vrlo jednostavna korpa.

A basket is made up of horizontal and vertical elements.

Korpa je napravljena iz horizontalnih i vertikalnih elemenata.

When I assign values to the vertical and horizontal elements,

Kada prenosim vrednosti vertikalnim i horizontalnim elementima,

I can use the changes of those data points over time

mogu koristiti promene onih podataka kroz vreme

to create the form.

da bih stvorila oblik.

I use natural reed,

Mogu koristiti prirodnu trsku,

because natural reed has a lot of tension in it

jer prirodna trska ima u sebi mnogo napona,

that I cannot fully control.

koji ne mogu u potpunosti da kontrolišem.

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

To znači da brojevi kontrolišu oblike,

not me.

a ne ja.

What I come up with are forms like these.

Ono što na kraju napravim je oblik kao što je ovaj.

These forms are completely made up

Ovi oblici su u potpunosti napravljeni

of weather data or science data.

od vremenskih ili naučnih podataka.

Every colored bead, every colored string,

Svaka obojena perla, svaka obojena traka,

represents a weather element.

predstavlja vremenski element.

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

I zajedno, ovi elementi, ne samo da grade oblike,

but they also reveal behavioral relationships

već, takođe, otkrivaju odnose u ponašanju

that may not come across

koji se ne mogu naći

through a two-dimensional graph.

na dvodimenzionalnom grafiku.

When you step closer, you actually see

Kada se približite, vidite zapravo

that it is indeed all made up of numbers.

da je sve zaista napravljeno od brojeva.

The vertical elements

Vertikalni elementi

are assigned a specific hour of the day.

određuju specifične sate u danu.

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

Dakle, sve zajedno, imate 24-casovnu vremensku crtu.

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

Ali, koriste se i za određivanje opsega temperature.

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

Na toj koordinatnoj mreži, mogu zatim utkati i očitavanja plime,

water temperature, air temperature and Moon phases.

temperaturu vode, vazduha i faze Meseca.

I also translate weather data into musical scores.

Takođe prevodim i podatke o vremenu u muzičke note.

And musical notation allows me a more nuanced way

A muzička notacija mi omogućava određen način

of translating information

prevođenja informacija

without compromising it.

bez njihovog otkrivanja.

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

Tako da, svaka od ovih nota je stvorena od vremenskih podataka.

Every single color, dot, every single line,

Svaka pojedinačna boja, crta,

is a weather element.

je vremenski element.

And together, these variables construct a score.

I zajedno, ove varijable grade note.

I use these scores to collaborate with musicians.

Koristim ove note da sarađujem sa muzičarima.

This is the 1913 Trio

Ovo je Trio 1913

performing one of my pieces

koji izvodi jedno od mojih dela

at the Milwaukee Art Museum.

u Umetničkom Muzeju u Milvokiju.

Meanwhile, I use these scores as blueprints

U međuvremenu, ja koristim ove note kao nacrte

to translate into sculptural forms like this,

za prevođenje u skulpturu kao što je ova,

that function still in the sense

koja još uvek funkcioniše

of being a three-dimensional weather visualization,

kao da je trodimenzionalna vremenska vizuelizacija,

but now they're embedding

ali sada ugrađuju

the visual matrix of the musical score,

vizuelnu matricu muzičke partiture,

so it can actually be read as a musical score.

tako da se zapravo mogu čitati kao muzičke note.

What I love about this work

Ono što volim u ovom poslu

is that it challenges our assumptions

je da preispituje naše pretpostavke

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

o tome koja vrsta vizuelnog rečnika pripada svetu umetnosti, a koja nauci.

This piece here is read very differently

Ovo delo ovde čitano je vrlo različito

depending on where you place it.

zavisno od toga gde ste ga postavili.

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

Postavite ga u umetnički muzej, ono postaje skulptura.

You place it in a science museum,

Postavite ga u muzej nauke,

it becomes a three-dimensional visualization of data.

ono postaje trodimenzionalna vizuelizacija podataka.

You place it in a music hall,

Postavite ga u muzičku dvoranu

it all of a sudden becomes a musical score.

i ono iznenada postaje muzičko delo.

And I really like that,

I to mi se zaista sviđa,

because the viewer is really challenged

jer je gledalac pred izazovom

as to what visual language

o tome da li je vizuelni jezik

is part of science versus art versus music.

deo nauke ili umetnosti ili muzike.

The other reason why I really like this

Drugi razlog zbog kog zaista volim ovo

is because it offers an alternative entry point

je zato što nudi alternativnu polaznu tačku

into the complexity of science.

u složenost nauke.

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

A nemaju svi doktorat iz nauke.

So for me, that was my way into it.

Dakle za mene, ovo je bio moj put.

Thank you.

Hvala Vam.

(Applause)

(Aplauz)