The goal of my artwork has always been to provoke a sense
of disbelief. To use technology to do a thing, but leave viewers with
only a sense of wonder. To achieve this, for the Burning Man 2003
theme, "Beyond Belief" I wanted to do something that had a religious
reference (God talking to Moses from the burning bush) and at the
same time was literally beyond belief. In this case, for example,
hearing voices from a flame, which is not something you would
normally understand as possible and thus was born
The Voice of
Fire.
To present this as a practical effect, I set out to create a sort
of burning bush, with voices coming directly from the flames. The end
result was a faceted five-sided base with 13 burner pipes coming out
the top and spreading like a vary abstract flower. A flame extends
about a foot from each pipe and different voices come from each
flame. You can walk up and talk to the device, your own voice will
echo back through the fire with 13 different time delays. When you
stop talking, the voices of all the other people who have talked to
it come out in a cacophony of sound. The sound comes directly from
the flames, there are no speakers of any kind.
It's an old effect, first published in
Popular
Electronics in 1969. Take a gas burner, add some kind of salt to
ionize the fire, pass electricity though the center of the flame, and
sound comes out. To see if this really worked, I got a propane torch,
a wine bottle filled with salt water, a wick, a 500 volt power
supply, the transformer from a microwave oven, a car amplifier, a CD
player, and two tungsten welding rods. After a little fooling about,
I had music coming from the fire. As to how it sounded, I discovered
if the flame was blown around by the air, the sound would waver and
cut out, there was not a lot of bass, but other than that, it was
just like a speaker. I knew the effect worked, and the adventure to
use it began.
After studying the effect for months I found it was very tricky
to make it reliable. The amount of ion additive was critical, too
little and no current flowed, too much and you shorted the effect
out. The best sound came from adding just enough ions for 1,000 volts
per inch of fire to conduct a few milliamps without arcing. The core
of my flames was about 6 inches, so I needed 6000 volts to produce
the sound.
I collaborated with an audio artist named Simran Gleason (E-mail:
simran at art dot net;
www.art.net/simran) to get the
13 audio channels. He used a Mac PowerBook and a professional
firewire audio interface to record and playback the voices. I built a
sealed box with thermoelectric coolers to hold the computer and the
other control electronics. After much effort, this part all worked
perfectly. For the short time that the
Voice of Fire did
work, people who encountered it were often speechless and looked
puzzled. After hearing the
Voice of Fire, they reacted with
"that's the damndest thing I've ever seen," or, "What was that?
What just happened?"
The entire propane-fire effect package and its accompanying
electronics were installed in one of the worst environments known to
man. What could possibly go wrong?
Well, the ever-pervasive playa dust got into the saltwater
injectors. In spite of a full recycling filtration system, the entire
plumbing got clogged. Without the correct ionization, the flames did
not make much sound and I was very disappointed with the result. Of
course, when I got it back home and cleaned it out, it worked fine. I
took it apart and put it in storage, where it awaits a kinder venue
for its next performance.
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