"rainbow man": an interactive light and dance performance
TRANSCRIPT
Leonardo
"Rainbow Man": An Interactive Light and Dance PerformanceAuthor(s): Seth RiskinSource: Leonardo, Vol. 28, No. 4 (1995), pp. 327-328Published by: The MIT PressStable URL: http://www.jstor.org/stable/1576200 .
Accessed: 10/06/2014 06:46
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access toLeonardo.
http://www.jstor.org
This content downloaded from 195.34.78.43 on Tue, 10 Jun 2014 06:46:55 AMAll use subject to JSTOR Terms and Conditions
Fig. 3. Joel H. Goodman, model of Interior Heliostats Architectonic-Inclined Ridged Skylight Modules, 10 x 15 x 20 in, 1993. An assembly of four multistage, optical-element heliostat solariums. A heliostat is a two-axis tracking reflector concentrator that points to a fixed re- ceiver. The design also integrates passive heating and daylighting, with the solarium as a thermal buffer.
Fig. 3. Joel H. Goodman, model of Interior Heliostats Architectonic-Inclined Ridged Skylight Modules, 10 x 15 x 20 in, 1993. An assembly of four multistage, optical-element heliostat solariums. A heliostat is a two-axis tracking reflector concentrator that points to a fixed re- ceiver. The design also integrates passive heating and daylighting, with the solarium as a thermal buffer.
tors, for use within various spatial con- figurations and building types. These include
* a stationary spherical segment re- flector with a two-axis tracking lin- ear receiver (solar bowl) (Fig. 2)[2].
tors, for use within various spatial con- figurations and building types. These include
* a stationary spherical segment re- flector with a two-axis tracking lin- ear receiver (solar bowl) (Fig. 2)[2].
* heliostats, i.e. two-axis tracking re- flector concentrators that point into stationary receivers (Fig. 3) [3]
* evacuated glass tubes with interior reflectors.
The sun's influence on architectural form has been important throughout
* heliostats, i.e. two-axis tracking re- flector concentrators that point into stationary receivers (Fig. 3) [3]
* evacuated glass tubes with interior reflectors.
The sun's influence on architectural form has been important throughout
history. Active solar technologies and connected storage facilities are merely elements of new mechanical systems that architects can integrate into the design process. However, some of the new solar-energy technologies are still in research and development stages, making it difficult to incorporate them in current architectural and planning projects.
The projects that architects are de- signing and planning today may be com- pleted and in place when the solar
option becomes more attractive due to rising costs of fossil fuels. Will architec- tural, landscaping and planning designs permit an economic conversion to the solar option in 15 or 20 years? Current design students and apprentices may well be faced with a solar imperative by the time they enter professional prac- tice. Design education programs could be better preparing for this eventuality by placing more emphasis on solar re- search and solar design options. Like trees and flowers, architecture can adapt to relate more closely to the sustaining capacities of the sunlight that passes through the changing atmosphere.
References
1. Additional information about this design re- search is presented in the report Solar Concentrating Architectonics-1993, Library of Congress No. 93- 176002, available from the author.
2. This work was part of "Solar Concentrating Ar- chitectonics-1993," a project supported in part by the National Endowment for the Arts, Design Arts Program, grant number 914259-0121.
3. This work was part of "Solar Concentrating Ar- chitectonics".
history. Active solar technologies and connected storage facilities are merely elements of new mechanical systems that architects can integrate into the design process. However, some of the new solar-energy technologies are still in research and development stages, making it difficult to incorporate them in current architectural and planning projects.
The projects that architects are de- signing and planning today may be com- pleted and in place when the solar
option becomes more attractive due to rising costs of fossil fuels. Will architec- tural, landscaping and planning designs permit an economic conversion to the solar option in 15 or 20 years? Current design students and apprentices may well be faced with a solar imperative by the time they enter professional prac- tice. Design education programs could be better preparing for this eventuality by placing more emphasis on solar re- search and solar design options. Like trees and flowers, architecture can adapt to relate more closely to the sustaining capacities of the sunlight that passes through the changing atmosphere.
References
1. Additional information about this design re- search is presented in the report Solar Concentrating Architectonics-1993, Library of Congress No. 93- 176002, available from the author.
2. This work was part of "Solar Concentrating Ar- chitectonics-1993," a project supported in part by the National Endowment for the Arts, Design Arts Program, grant number 914259-0121.
3. This work was part of "Solar Concentrating Ar- chitectonics".
Rainbow Man: An Interactive Light and Dance Performance
Seth Riskin
Rainbow Man: An Interactive Light and Dance Performance
Seth Riskin
Rainbow Man is an outdoor perfor- mance in which I interact directly with sunlight. During the performance, my body is surrounded by a fine mist of wa- ter, which allows me to effectively carry rainbows with me as I perform in bright sunlight. As I move, I am able to play with the position of the droplets in rela- tion to the sun and the observers. This
Rainbow Man is an outdoor perfor- mance in which I interact directly with sunlight. During the performance, my body is surrounded by a fine mist of wa- ter, which allows me to effectively carry rainbows with me as I perform in bright sunlight. As I move, I am able to play with the position of the droplets in rela- tion to the sun and the observers. This
Seth Riskin (artist, dancer), Center for Advanced Visual Studies, Massachusetts Institute of Technology (MIT), Building N52, 265 Massachusetts Avenue, Cambridge, MA 02139, U.S.A.
Received 13 March 1995.
Seth Riskin (artist, dancer), Center for Advanced Visual Studies, Massachusetts Institute of Technology (MIT), Building N52, 265 Massachusetts Avenue, Cambridge, MA 02139, U.S.A.
Received 13 March 1995.
allows me to choreograph the creation of the rainbow, which, in turn, inspires the movement I perform.
For the performance, I have devel- oped a three-cylinder system of com- pressed nitrogen and water, which I carry on my back much as an undersea diver carries air tanks, though in this case the tanks are smaller (Fig. 4a) [1]. This system is connected to five compact water jets-one on each of my wrists and ankles and one on the back of my head (Fig. 4b). The system creates the water pressure necessary for the jets to spray a mist of water droplets 0.01 mm-0.05
allows me to choreograph the creation of the rainbow, which, in turn, inspires the movement I perform.
For the performance, I have devel- oped a three-cylinder system of com- pressed nitrogen and water, which I carry on my back much as an undersea diver carries air tanks, though in this case the tanks are smaller (Fig. 4a) [1]. This system is connected to five compact water jets-one on each of my wrists and ankles and one on the back of my head (Fig. 4b). The system creates the water pressure necessary for the jets to spray a mist of water droplets 0.01 mm-0.05
mm in diameter, which is the size range necessary for a rainbow. The arrange- ment of the jets on the body allows for five separate 360? rainbows.
Note
1. The compressed nitrogen, which is nonflam- mable, is connected to the water cylinders via a two-stage regulator. Since the nitrogen is not ab- sorbed by the water, its compression provides more than enough pressure to produce the water mist. This method of pressurizing with compressed ni- trogen is used commercially to pressure test plumbing systems.
mm in diameter, which is the size range necessary for a rainbow. The arrange- ment of the jets on the body allows for five separate 360? rainbows.
Note
1. The compressed nitrogen, which is nonflam- mable, is connected to the water cylinders via a two-stage regulator. Since the nitrogen is not ab- sorbed by the water, its compression provides more than enough pressure to produce the water mist. This method of pressurizing with compressed ni- trogen is used commercially to pressure test plumbing systems.
SolArt Global Network 327 SolArt Global Network 327
This content downloaded from 195.34.78.43 on Tue, 10 Jun 2014 06:46:55 AMAll use subject to JSTOR Terms and Conditions
.4 .4
Fig. 4. Seth Riskin, sketches of Rainbow Man, a light and dance performance involving direct interaction with sunlight. (left) A com- pressed nitrogen and water tank on the performer's back (lower right) connects to jets on his body (right), which spray a mist of water droplets that reflect rainbows.
Fig. 4. Seth Riskin, sketches of Rainbow Man, a light and dance performance involving direct interaction with sunlight. (left) A com- pressed nitrogen and water tank on the performer's back (lower right) connects to jets on his body (right), which spray a mist of water droplets that reflect rainbows.
Homage to Dale Eldred Homage to Dale Eldred Jiirgen Claus Jiirgen Claus
Dale Eldred died on 26 July 1993 in his studio in Kansas City, Missouri while try- ing to save his artworks, which were threatened by the rising waters of the Kaw River. He was a solar artist in every sense of the term. His optimism and strength were related to the biospheric elements of nature, light, time and space. Since the late 1970s, he had de- voted his artistic energy to "diffraction sculptures," or works that were defined by light reflecting from surfaces. Just as the earth is related to the sun, these works included the reflector as well as the reflecting space [ 1 ].
I remember Dale's attentive interest in the idea of the Biosphere II when it was founded near Oracle, Arizona. We
Jurgen Claus (artist, writer, educator), Centre Overoth, B- 4837 Baelen, Belgium.
Received 13 March 1995.
Dale Eldred died on 26 July 1993 in his studio in Kansas City, Missouri while try- ing to save his artworks, which were threatened by the rising waters of the Kaw River. He was a solar artist in every sense of the term. His optimism and strength were related to the biospheric elements of nature, light, time and space. Since the late 1970s, he had de- voted his artistic energy to "diffraction sculptures," or works that were defined by light reflecting from surfaces. Just as the earth is related to the sun, these works included the reflector as well as the reflecting space [ 1 ].
I remember Dale's attentive interest in the idea of the Biosphere II when it was founded near Oracle, Arizona. We
Jurgen Claus (artist, writer, educator), Centre Overoth, B- 4837 Baelen, Belgium.
Received 13 March 1995.
had many talks about the possible solar aspects of this experiment and the chances for integration of or at least feedback for solar artworks in Bio- sphere II. We discussed connections be- tween the concept of solar art and concepts put forth by researchers in the fields of geography and ecology, one of these researchers being the "father" of the Biosphere, the Russian scientist Vladimir Vernadsky (1863-1945). Vernadsky observed that
the terrestrial face becomes visible where it receives light from celestial bodies, particularly the Sun.... The biosphere is as much, or even more, the creation of the Sun as it is a mani- festation of Earth-processes.... We are now obliged to consider the phenom- ena of the Earth's crust as a manifesta- tion of cosmic mechanisms [2]. Eldred constructed public solar art-
works (Fig. 5) from Phoenix, Arizona,
had many talks about the possible solar aspects of this experiment and the chances for integration of or at least feedback for solar artworks in Bio- sphere II. We discussed connections be- tween the concept of solar art and concepts put forth by researchers in the fields of geography and ecology, one of these researchers being the "father" of the Biosphere, the Russian scientist Vladimir Vernadsky (1863-1945). Vernadsky observed that
the terrestrial face becomes visible where it receives light from celestial bodies, particularly the Sun.... The biosphere is as much, or even more, the creation of the Sun as it is a mani- festation of Earth-processes.... We are now obliged to consider the phenom- ena of the Earth's crust as a manifesta- tion of cosmic mechanisms [2]. Eldred constructed public solar art-
works (Fig. 5) from Phoenix, Arizona,
to Helsinki, Finland. In 1978 he used 8 miles of Mylar prismatic diffraction tape to transform an expansive exterior wall of a warehouse in Kansas City. Mir- rors reflected the sunlight onto the huge wall, creating an ever-changing image that shifted from brilliant red to glowing green. Antero Kare made the following comments in the catalog for Eldred's exhibition and installation in Helsinki in 1982:
Dale Eldred actually takes over a city when he works. He utilizes its geo- graphical location and architectural profile; spatially alters its buildings, its parks and his horizons; and exposes his audience to some of the basic elements of life-energy, rhythm, pulse and in- ter-relationship.
With the varying reds, yellows, greens and blues of the spectrum, Dale Eldred succeeds in emphasizing certain basic interdependencies: there is no light
to Helsinki, Finland. In 1978 he used 8 miles of Mylar prismatic diffraction tape to transform an expansive exterior wall of a warehouse in Kansas City. Mir- rors reflected the sunlight onto the huge wall, creating an ever-changing image that shifted from brilliant red to glowing green. Antero Kare made the following comments in the catalog for Eldred's exhibition and installation in Helsinki in 1982:
Dale Eldred actually takes over a city when he works. He utilizes its geo- graphical location and architectural profile; spatially alters its buildings, its parks and his horizons; and exposes his audience to some of the basic elements of life-energy, rhythm, pulse and in- ter-relationship.
With the varying reds, yellows, greens and blues of the spectrum, Dale Eldred succeeds in emphasizing certain basic interdependencies: there is no light
328 SolArt Global Network 328 SolArt Global Network
v . :
-
x,, a.,1
I,,.
v . :
-
x,, a.,1
I,,.
|
j
~~~~-- Lz;; Am-X
... ..f -.. i ' a t _
|
j
~~~~-- Lz;; Am-X
... ..f -.. i ' a t _
This content downloaded from 195.34.78.43 on Tue, 10 Jun 2014 06:46:55 AMAll use subject to JSTOR Terms and Conditions