Tutors: Ramin Shambayati | Mehran Davari
Participants: Senad Jamini | Ema Velkovska | Diana Ferro | Hristina Sekuloska | Joanna Lewanska | Will Judge | Ela Zdebel | Karina Armanda | Tamara Rangelova | Irena Milojeska | Miisa Lehtinen
Dimensions: 3m x 3.4m
Location: Nida | Lithuania
Photo: Alexandra Kononchenko
Video: Resosseous team
Resosseous is the only technological project presented this year at EASA. The tutors of the project describe it a non-place, which is a term coined by French anthropologist Marc Auge when describing spaces that are transient, where human beings remain anonymous, and do not hold enough significance to be regarded as “places”. They also believe, that the definition of what a place is can be subjective. So, the concept behind Resosseous is that it can act as a sort of ‘place-maker’ where passersby and users, prompted to shed their anonymity by challenging curiosity and working with each other can create new and unexpected soundscapes. The structure has the potential to reshape any space into a social one, filled with collective experiences and memories. It is an object which comes alive, giving a sound, only when humans touch it.
The tutor of workshop Ramin Shambyati tells idaaf much more about Resosseous.
– Is it possible to place Resosseous in any space and environment, or are there any technical restrictions for it?
– It is lightweight and the entire structure can be lifted by 2-3 people, while it can also be disassembled/assembled within a couple hours, so it is easy to move it around to different sites. It is not (yet) waterproof so at the moment it can’t operate under rainfall as the electronics would at risk of damage. The microcontroller/speaker batteries allow it to function for around 10 hours straight. The nodes are detachable so batteries can be recharged under the space of 1 hour.
– What are the components of Resosseous, were there any specific parts or devices used for the project?
– 24 structural nodes are built from steel reinforcement welded to the pipes
– The steel node pipes slot into 36 connecting aluminum pipes that attach the structure together. Holes are drilled in the pipes to be connected by allen grub screws.
– The node casings (which house the electronics) are a fiberglass/resin composite – cast inside 3D printed molds
– Each electronics node consists of: one Bare Conductive Touch Board, one rechargeable mini speaker, one rechargeable lithium polymer battery, wires, and copper tape
– How do you think what did the participants learn during your workshop?
– We asked participants why they chose this workshop and most of them answered that they had never done this kind of work before and were looking to learn new tools, methods, and electronics. They had a good introduction to parametric modelling with Rhino and Grasshopper, taking designs from digital to physical with 3D printing (digital fabrication), casting fiberglass/resin, metalwork/welding, and last but not least, interaction design by working with microcontrollers, sensors, inputs, and outputs. It was the first time the students had worked with kind of interactive technology. We were grateful to use these amazing boards from a company based in London (Bare Conductive) that specialises in translating of human touch to sound.
– I’ve watched the people during the site presentation, how much they enjoyed “communication” with Resosseous, how do you think it can develop in future?
There were 2 great things during the live presentation, first – seeing the look of fun and amazement on people’s faces as they interacted with the structure and each other, second – having musicians come up to us and bombard us with ideas on how the design could be used as a platform for musicians to both experiment in production and exposing their music to the public. For example a musician could load sounds onto Resosseous that a group of users interact with and create different collaborative compositions. Or it could be used as a tool in a musician’s studio, offering a 12 channel surround-sound environment. I would very much like to pursue this field and collaborate with musicians, festivals, and events as there is a lot of potential to build on this experiment.
Workshop performed in collaboration with Soundscape 2.0
Author: Tata Alkhazashvili