Hyperdrone

White, N. 2015. Hyperdrone. Wysing Arts, Cambridge

TitleHyperdrone
CreatorsWhite, N.
CollaboratorsSmith, Rob
Troisi, Anna
Description

The HyperDrone (Seismic Hyperdrone) is a networked sculpture developed to be situated in a public space - here tested at Wysing Arts in Cambridge. Constructed as a tensegrity form, using 6 metre aluminium scaffold poles and a section from a Radome (discued satellite cover), data was translated into sound that generates acoustic waves that can be heard and felt through the air and ground surrounding the sculpture. In the course of documenting the Hyperdrone it was discovered that the standing waves affect the optical sensor of the camera recording it, generating waves through video recordings.

The sculpture for this experiment uses data captured as part of a network of seismic sensors situated across the surface of the entire planet. The data was obtained from the Atomic Weapons Establishment Blacknest, Reading UK, which is part of the Comprehensive Test Ban Treaty Organisation (CTBTO) ctbto.org/photos/#ctbto_gallery_14362/1 which monitors the ground for nuclear scale explosions across most countries in the world. This data is now contributing to other systems, such as early warning earthquake and tsunami alerts data.

The sculpture was a prototype for a Hyper-sculpture. That is, this would be one instance of a single node that would act in relation to an entire network of other hyperdrones. Conceived in relation to the 'hyper' object' (Timothy Morton), that is, a form which is too large (in scale of space/time etc), or too small in scale (of visibility etc), to be perceived by humans without the use of scientific systems, the sculpture addresses global networks of information through a sensory experience.

The CTBTO network was created for the purposes of maintaining peace through an International Treaty which bans nuclear weapons development and testing, and is an example of what can be achieved through cooperation, even if the positive contributions it now makes to seismic monitoring of natural events (earthquakes, tsunami) are a side effect of its true intention.

The project was conceived by Neal White of Office of Experiments and developed with Rob Smith and Anna Troisi.

Date23 Jul 2015
FileDSC_2161.JPG
Image creditRob Smith
Media typeImage
RightsRob Smith
LicenseCC BY 2.0
Place of publicationWysing Arts, Cambridge
Web address (URL)http://o-o-e.org/fieldwork/on-experiment/hyperdrone-wysing-2015/
https://vimeo.com/135457991

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White, N. 2018. Brownsea: An Imaginary Island (An Island of the Imaginary). Arts Catalyst, London

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White, N. 2016. The Imaginary Archive; Third Campaign. The Imaginary Archive. Whitechapel Gallery, London 29 Jan 2016

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White, N. 2016. Cultures of the Anthropocene . RGS-IBG Annual International Conference 2015. Exeter University

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White, N. and O'Connell, T 2016. 9 Events. Dyson Gallery, Royal College of Arts, London

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White, N. and Beck, J. 2016. Overt Research. in: Beck, J. and Bishop, R. (ed.) Cold War Legacies: Systems, Theory, Aesthetics Edinburgh Edinburgh University Press. pp. 252-272

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White, N. 2015. Sites of Excavation and Construction.

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White, N., La Fevre, L and Yiakoumaki, N 2015. The Third Campaign: Extracts. Whitechapel Gallery

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White, N. 2014. On Being Overt. Knowledge Value and Dark Data: Absences, Interventions And Digital Worlds. University of Exeter 15 - 16 Dec 2014

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White, N. 2014. Dislocated Data Palm (in Two Parts) . Portikus, Frankfurt. Germany

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White, N. 2014. Skoob Performances. in: Le Feuvre, L. (ed.) NOIT 2 / Burning London Flat Time House.

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White, N. 2013. Modern British Sculpture Catalogue. in: Curtis, P. and Wilson, K. (ed.) Modern British Sculpture London Royal Academy of Arts. pp. 278-279

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White, N. 2013. Experiments and Archives in the Expanded Field. in: Stuckey, K., Lane, V. and Vaknin, J. (ed.) All This Stuff: Archiving the Artist Faringdon, Oxfordshire Libri Publishing. pp. 47-61

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White, N. 2013. On Not Knowing. in: Fisher, E. and Fortnum, R. (ed.) On Not Knowing: How Artists Think Black Dog Publishing.

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White, N. 2013. Epistemic Events. in: Schwab, M. (ed.) Experimental Systems: Future Knowledge in Artistic Research Belgium Leuven University Press.

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White, N., Smith, D. and Jeong, D. 2010. Fieldworks from the Museum of the Void: Experiments in the Event of an Archive. University of the Arts London: Chelsea Space.

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White, N. 2010. Dark Places Catalogue (First ed.). University of Southampton: John Hansard Gallery.

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White, N. 2009. The Body in Contemporary Art. in: O'Reilly, S. (ed.) The Body in Contemporary Art Thames & Hudson.

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White, N. 2009. Voids/Vides. A Retrospective of Empty Exhibitions. Centre Pompidou, Kunsthalle Bern, Centre Pompidou-Metz. in: Copeland, M., Hendricks, J., Philpot, C., Metzger, G., Perret, M.-T. and Lippard, L.R. (ed.) Voids: a retrospective Paris, France JRP/Ringier.

Ott’s Sneeze
Norfolk, L. and White, N. 2002. Ott’s Sneeze. London Bookworks.

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