"The next thing would be to kick off a tour of suspension bridges," says Mainstone. "What feels like the next big question is saying, 'OK, now that we know what sounds we want to harvest on the bridge how do we record them in real time and throw them into the mix and allow them to be played through the harp control system?'," says Mainstone.Īs the technology develops, the design and performance aspects are also evolving. Project in Florida using ENTTEC CV LED strip. conjure-up failed to initiate containers: Error : ERROR juju.provisioner provisionertask. With the modules currently playing pre-recorded sounds there are many aspects that need fine tuning. Few effects conjure up an awe-inspiring atmosphere as well as constant. As the string is pulled, sensors in the module pick up on changes in parameters such as the angle of the string, allowing the sound (currently pre-recorded) to be altered as the performer moves. Designed to be attached to different positions across the bridge, each module houses a retractable string that can attach to a stiff jacket worn by the performer. "Even if things aren't finished and they look ungainly, we want people to see what it's like to develop an instrument for a bridge."Ĭreating the sound modules is paramount to the harp's success. "The idea of this entire project is open source so we are opening up our research process," says Mainstone.
Working with tech experts Anti-Alias in Shoreditch and students at Queen Mary, as well as holding workshops at the Copenhagen Institute of Interaction Design, Mainstone is drawing on the expertise of digital, sound and design specialists to develop the harp. "I realised this isn't a project about one person trying to do an intervention on a bridge, this is something that needs to be about bridging information, bridging knowledge," Mainstone says.
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