Video of the StellrLumé Domes at Questacon, StellrScope Exhibition.
The StellrLumé Domes installation, StellrScope, uses Spatial Augmented Reality (SAR) techniques to bring computer graphics into the human-scale physical environment. In order to facilitate interaction between the graphics and visitors, overhead depth cameras are used that sense red, green and blue as well as distance for every pixel. Custom software then extracts the human form, such as hands, over the top of the projection surface. Elements of the digital content are selected based on where ‘virtual shadows’ land. The audience must become active participants in order to experience the entire narrative.
The StellrLumé Domes are part of the ‘StellrScope’ Centenary of Canberra Science Art Commission and celebrate the story of wheat innovation over 100 years. The focus of these research was undertaken at CSIRO who were the Science Art Commission host, resident at the Future Food Flagship and Computational Informatics.
Eleanor Gates-Stuart – Artist & Producer
Matt Adcock – Software Engineer
David Feng – Software Engineer
David Lovell – Transformational Bioinformatics Leader
Sherry Mayo – Research Scientist
Chuong Nguyen – Quantative Imaging
StellrScope Music Composition by Marlene Radice
Excerpts, ‘A Nation is Built’ 1938 (Frank Hurley, Australia) NFSA title ID 7586. Courtesy of the National Film & Sound Archive of Australia
William Farrer Archives, Courtesy of the National Library of Australia and the William Farrer Trust
© Eleanor Gates-Stuart
StellrScope Artist, Eleanor Gates-Stuart is delighted to work with Local Composer and Musician, Marlen Radice, to bring Marlene’s stunning composition to the exhibition at Questacon for the Sound of ‘StellrScope’. This wonderful collaboration is made possible by CSIRO (Computational Informatics CCI), in particular, Dr David Lovell who inspired Marlene with suggestions for sound content and structure. StellrScope video files were happily provided to Marlene for background material, here is what Marlen has to say about her composition:
About the Piece:
In creating a piece of music which would serve as a backdrop to the StellrScope exhibition, I sought write and produce music which was as true as possible to the concepts which underpin the artworks.
I began the piece taking heed of the notion of the visceral experience of wheat within its natural environment by experimenting with organic sounds. This presented a chronology of the means by which wheat is processed and harvested, from the field to the mill, to factory.
These natural sounds were then edited and overlaid upon one another to produce a cacophonic sound-scape which sought to emulate the dual concepts of wheat development, in its cyclic and expansive means of proliferation throughout a century.
The piece uses a palindromic structure based around a cyclic use of musical cells. These cells are made up of 1-3 bar phrases which are built upon and repeated throughout the piece. The pitches used in these cells are based around the wheat nucleotides of Cytosine, Adenine and Guanine, with the first letter of each of these nucleotides, A, C and G, used in rhythms based around the wheat genome sequence.
I sought to use a combination of alleatoric musical ideas as well as more intuitive ones in order to further highlight the amorphous binaries of traditional and electronic music, used in tandem with the binary relationship concurrent with contemporary society’s relationship with plants and food production.
Time, change and cyclic rotation were key concepts I sought to develop within this piece of music. A century of change, growth, and renewal, a fundamental return, the return of familiar sounds in repetition, a cycle of sound mirroring a cycle inherent within nature.
Short sound clip preview