Curio: assembling & assembling

I have built the proscenium for my installation. The side walls are 3/8" spruce plywood sandwiching 2" of foam insulation. The interior wall is 3/8" spruce plywood sandwiching 1.5" foam insulation. This wall is cut into two sections: the bottom area can be pulled out so I can walk through the wall, and open the door it now covers. The top half is fixed, and has no insulation in between the two pieces of ply. The interior faces of the proscenium is painted black. The exterior wall will be painted white (too snowy now to paint outside).

The dimensions of the proscenium and the durability of its construction will enable me to attach all my machine parts to the structure. The painted surface is a chalkboard where I can write and draw the armatures of the machine, which will come to fill the space.

Three things I need to consider now: sound, lighting, copper tubes. It is essential these three elements interact during the machines performance.



Steven Pippin, Black Hole, 2003 & Joseph Beuys, detail of Secret Block for a Secret Person In,

Curio: locating and assembling

I have located a site for the next iteration of my machine, and have begun to design and assemble the proscenium for the installation.



The proscenium is an insulated wooden cabinet, matching the area of a door frame. The door I have located opens onto the outside. The proscenium frames both interior and exterior surfaces of the site. Withing the depth of the proscenium is an insulated wall. The wall defines a new break between what is on one side of the cabinet, and what is on its other. The proscenium will be installed so that the existing door can be opened and closed without damage to it or the installation.



The proscenium is a technical tool too. It will hold up the technology of the installation: hanging du Still, fixing lights, sound, microphones, etc... The proscenium embodies the content of the project: a cabinet of curiosities.

Drawing - Untitled

Untitled, Graphite on 20" X 30" Paper, Gregory Beck Rubin, November 2007


The drawing is a composite image of the different parts of Du Still as it was in Montreal while the machine was active. Steam pours out of the wands, and condensed water drips into the recepticles or forms a puddle on the mylar platforms. They are the states of change of water in Du Still.

(after Montreal) after Montreal

(after Montreal) during Montreal PART QUATRE

Dissolving, Daniel McGibbon, November 2007




Sublimating, Morgan Sutherland, November 2007




Ready for the show, Sealed Lid, Daniel McGibbon, November 2007

The week's workshop concluded with an exhibition. And just in time for the guests to arrive, we got the machines up and running (or steaming).

(after Montreal) during Montreal PART TROIS

Water receptacle, Gregory Beck Rubin, November 2007

Thanks to the TML, I got access to the Metal workshops at the EV building. I got proper instruction on how to bend copper tube (using this coil that looks like a door stop) and also did some soldering for one of the new wands. I decided to try to different wands - one which exited the lid and extended away from the tank, above the heads of observers towards the wall, and a second which was a closed circuit, linked up to the two remaining lid manifolds. Along the path of this circuit, the tube would bifurcate, and a a slimmer tube would emerge, extend outwards and bifurcate again, and so forth. I was interested to explore the structure of the wands as branches and roots.

The new wand shapes and their position in the space directly affected the observer;s awareness of the machine in the space. The coiling forms I was making could be used to draw an observer onto a vector aligning sight, steam and light. These coils were like kaleidescope tubes, and inside the tubes were pierced at overlapping lengths to build up the intensity of steam for the observers.



Light tests & Steam tests, Gregory Beck Rubin & Daniel McGibbon, November 2007

I fired up the machine after I got my new wands reconnected to the Still tank. Some interesting discoveries were made. First, the wands vibrated when steam started to run through their lengths. I could adjust the vibration by playing with the valves on the lid. Second, it took some time before the steam would pour through all the holes I had inserted along the various wands. This was a nice effect, watching the gradual build up of steam from all the tubes. Third, the spitting of water droplets overwhelmed the polyethylene cone receptacles I hung from spring coils under the tubes where there was a hole, to capture the condensing vapour. There was still water falling on the floor (It was interesting, though, to observe the slight deformation of the cones as it filled up with water, and that weight in turn stretched the springs and the copper wands).



Steam Wands, Daniel McGibbon, November 2007



Corrosive Subliming, Gregory Beck Rubin and Daniel McGibbon, November 2007

Late late Thursday JS and I came up with these mylar platforms for catching the water droplets. The platforms also "caught" the sound of the water droplets impacting the surface. By placing a contact microphone under the platform, the noise of the water droplets were recorded by the sound system and played with as output data. This was a great discovery. Using Max MSP, the water droplets beats were turned into signals to activate Evan Marnoch's typewriter, located on the other side of the BB. We also manipulated the sound of the water droplets and played them out of a speaker nearby the most active steam wand, near the wall. Having incorporated sound and water into the du Still's actions, I was demonstrating more complexity in the machine. I was also getting a chance to play with all the components of the machine, and not just the steam output. This is important because it addresses the "cyclical" aspect of the machine as an autopoetic system. (I still need to continue developing its "circuit" but in the mean time, the installation in Montreal broadened the potential of the project: identifying hinge points in the cycle of water to steam to water, etc...).



Golden Shower, detail of MaxMSP file, Gregory Beck Rubin, November 2007

(after Montreal) during Montreal PART DEUX

Wet Dream Bed Spread, Well hung, Wrapped Pole, Gregory Beck Rubin and Daniel McGibbon, November 2007

I hung the copper tank from a pole not too far from one of the BB walls. There was space between the hanging tank and the wall to suspend an elaborate steam wand. After the tank was hung, I set up the electrical, wrapped the cables around the pole and tested the motion sensor/electrical kettle element. Yes! it worked. Contrary to the preliminary sketch for setting up du Still in the BB, all the parts of the machine were hung from the poles. This arrangement was very convenient, giving me clear space around the machine to stretch the wands, interact with other installation. It also gave me a clear space for capturing the condensed water spitting out of the steam wands (when activated). What possibilities were there for using the water drops instead of treating it like an anomaly in the project?

(after Montreal) during Montreal

Boite Noire, Gregory Beck Rubin, November 2007

Bienvenue a la Boite Noire...

Monday morning we began setting up our work in the Black Box (BB): a 50 X 50 X 25 feet performance space in the basement of Concrodia's Engineering and Visual Arts Building (EV).
Throughout the day, different members from the Topological Media Lab (TML) trickled into the space to meet us and our work, as well as set up their own computer stations for sound and lighting. Setting up is slow. Familiarizing yourself with the space is not easy: its huge, and it's set in the basement of the EV building, itself a large network of stacked research centres, studios, information technology labs, atriums, staircases and elevators big and small. Much of the first days was spent climbing and descending the EV building. The freight elevator became our second workshop space. It is also a place to hang out and meet other students in Concordia...

By the end of the day we had decided on a layout of machines inside the BB. The layout also included a hanging pole plan, and location of trusses for lighting. Suspending the poles and trusses would took place Tuesday.



Assembing, Daniel McGibbon, November 2007

Tuesday: hanging the poles with Marnie and Ricardo. Lunch break skipped out of the BB (needed to see the sun, get fresh air) and went down to the Atwater Market. Very yummy lunch. Walnut bread, Au Ciel de Charlevoix blue cheese, a really gooey goat's cheese roll coated in ashes, and fresh grapes and orange pepper. Back to the BB. That afternoon we got an introduction to some of the work being done by the grads and members of the TML. Jean-Sebastien presented some video patched he's been working on - a comet program and a few other eye scrumptious videos. The videos are like organisms which react to light data (taken from live video feed) and changes according to their programming code.




Comet Patch built by JS, Daniel McGibbon, November 2007

After setting up the poles, the next step was hanging my machine and deciding how to build and shape the steam wands. Where would they bend? How would I use lighting? There was also the issue of dripping water lingering in the back of my mind (where does it go?!) and what data I could use to integrate into other people's projects.



Still Life, Gregory Beck Rubin, November 2007

(after Montreal) before Montreal

Just before taking off to Montreal and working with the TML at Hexagram, Concordia, I made some additions to "du Still".







I have added two more exit tubes to the copper pot lid, with mechanical valve. Now that I know the machine produces steam, I would like the option to play with multiple tubes springing out from the kettle, allowing to fill more space, creating more play between the observer and the machine. How will they approach the machine, and how will the machine unravel itself?



I have made decisions on how to bend the tube. Looking at the natural shape of the tube, not forcing it to bend in directions beyond its engineered shape. This will affect what kinds of shapes I can generate when in Montreal, perhaps define a geometry within the system of the machine.

BEAST: schematic drawing of machine installation in black box

The "new" name of the beast is du Still. When showing the work to visiting critics, or describing it to chemists in the Chemistry department, I got the same first reaction, "so...you're making moonshine" This is a nice change from the comments I got when first making the steam machine. Back then I got, "so...you're making a bomb". Well, thanks for the positive feedback. I will work that into the project.

I digress.





Above is a schematic drawing for the installation of du Still in the Black Box, Montreal, QC.
The machine is for the most part suspended. The steam wands are not fixed and could be reformed, added or subtracted in length and number. In this way we could play with the position of the floating the steam wands: above peoples heads, or laying it on the ground, and more....

BEAST: 'V' is for valve, 'W' is for wand

A. 3 foot tube with 9 holes, Gregory Rubin 01.11.07

As part of exploring the control and shape of steam, I have gone through a couple of interrations of steam wand length, no. of punctures and shape. In the first case (A & B) I kept the rod straight and punctured at four centimeter intervals nine one-point-five millimeter diameter holes, all in the same direction. In the second case, I increased the number of punctures to 24, (the entire length of the tub), then bent it into a ring shape (C & D).



B. 3 foot long tube with 9 holes, Gregory Rubin 01.11.07




C. 1 foot diameter ring with 24 holes, Gregory Rubin 01.11.07




D. detail of 1 foot diameter ring with 24 holes, beast with ring wand, hole details, tub cutter, Gregory Rubin 01.11.07


The location of participant relative to light and steam machine is crucial to the experience of the beast. There is a celestial like relationship physical between light, steam and participant which needs to be constantly changing and moving in space (think of the relationship between the sun, the moon and the earth). Even after the beast is activated and steam pours from its opening, we light to and proximity to machine to feel its textures, its potential concreteness. Depending on where we stand relative to these two other sources, the steams visibility will range from invisible to visible, and within the steam visibility range, appear coloured, or perhaps neutral. Previously, I enquired as to how the machine changes atmosphere. Steam and heat are my two sources for changing the space. This exploration is ongoing, but now I want to add the following: how do we become more dynamic participants, actuators and sensors as the environmental conditions change? How does the machine draws us, the participant through the space, during the process of environmental activation? What are the ways for registering the changes in heat and humidity in space.the changes in space?

I also need to find a better way of bending my tubes!




Steam, Light and Participant Triumverate


Humidity and heat sensors are a couple of tools which could prove very useful. What would the collected data tell me about the space in which the machine exists and a activates? How might I relay this collected data back to the machine, so that it uses the information to change the way it activates the space?

Another tool that I am looking to integrate into the beast system are muscle wire activated air valves. I would like to place the air valve within the path of the steam tube wands. Muscle wire is activated by electric current. This eletro-mechanical actuator could replace the current mechanical valves I have in place. The circuitry could be connected to the Arduino, and a program to actuate the valve.




Mechanical Valve or the Electro-Mechanical Valve. choices? choices!

BEAST: locomotion

Video: Gregory Beck Rubin, Music: Steve Reich's America Before the War

Notes from the latest test of the Beast:

Lighting: Projected fluorescent lighting from below the copper tubes helps to illuminate the steam. One interesting effect is how light registers the velocity of the steam as it exists the tubes. I would now like to cut more holes into the tube and see how multiple openings alter the shape and velocity of the steam. How far will the steam project? What kind of interaction can I develop by lighting the steam as objects move through its space?

Heat: The copper tubes heat up substantially once the steam starts pumping. However, you can pass your hand through the steam without burning your skin. Its a nice effect to feel the pressure of the steam, or feel the tiny droplets of moisture accumulate on the surface of your body.





Insulation and Assembly: I have decided not to insulate the tubes. This will also make it easier for me to add and subtract other tubes, paths or openings to the existing branches by simple plumbing techniques.


Projections, Dimensions: I have gathered some dimensions below to give some clues as to the space the machine might occupy in the Blackbox. One of the two copper tubes reaches over ten feet away from the boiler. From its tip, the steam projects about one foot. Contrasting this, the shorter of the two tubes, five feet, projects steam further from its own end, about one-and-a-half feet. Is there an inverse relationship between distance of tube and distance of steam projection inherent in the machine's design? How might I begin to play with the relationship between these two figures?

BEAST: suspendu...

I have suspended the machine in the studio. I did a couple of tests running the machine, while it was on my desk, but would now like to test it out hanging in the air. The steam machine vibrates quite a bit once it gets going, and it will be interesting to observe these effects now that the machine floats.

I have also extended, and straightened the branches of the machine. As the branches extend further out, the section of the tube diminishes. I have not recovered the tubes with insulation because I think once the lid is securely fastened, I will recover the pressure necessary to pump steam, and the initial coolness of the tube surface will be heated by the steam.

BEAST: post crit and makings

On Friday we had reviews with artist Ken Gregory. I did a test of the machine for Ken, and during the "performance" there came to the surface a few issues, read: malfunctions. Leaking water, leaking steam from the unsealed lid, cold tubes condensing the steam before it could exit the wands. We spoke about how to fix these issues. And Ken gave me some good tips on how to avoid making a bomb. He suggested looking at valve solinoids to control the pressure and flow of water into/and steam out of the tank. Also recommended I check out some websites for steam hobbyists.

Since Friday, I have been going back and adjusting the machine's details to make sure the next test works, including:



-Fixing the element connection: cleaner silicon joint
-Insulating the copper tubes
-Adding a valve to the tube carrying water into the pot
-Making the lid secure
-Making different steam wands....

Applying simple plumbing techniques, I can easily incorporate different "steam wands" to the machine's lid, like adding or subtracting limbs to the branches of a tree. I have this feeling that different types of openings along the copper tube might produce different shapes of steam. Like the water shooting from Roman fountains, I would like the steam to take on various tectonic figurations. So, while I am sealing this bomb, I have also picked up some metal bits for my Dremel to puncture the copper tube.




I am also looking at work by Greek installation artist Kounellis. Below is one example with fire, flames, propanes tanks.



Kounellis, Untitled, 1969

Kounellis' simple arrangements of fundamental elements in architecture create spectacle in unlikely spaces: burning, disintegration, weight, compression, elaboration.

There is also this video by Swiss artists Peter Fischli and David Weiss, "The Way Things Go". They must have had so much fun making this one...



To continue developing my machine, and as part of the workshop in Montreal, I want the Beast to become a kinetic performance. What are the possibilities in making a series of fire and water and steam installation, oxidizing different metals with a propane tank, translating invisible elements into sculpted, glowing or burning forms?

BEAST: solder and stitch and ponder

Yesterday I got down to some soldiering. The kettle pot I am using has a relatively heavy gauge, so your average 40 watt soldiering gun does nothing to heat the pot anywhere near the temperature for fusing copper with plumber's soldier; I need a propane tank and some high temperature to melt this puppy!



A couple of images of the different components I am using in the steam want. Firstly, the steam wand is connected to the lid of the pot. I have incorporated a valve into the first section of the steam want coming out of the pot lid, to help control and vary the pressure when I need to test the machine. I am using a 1/4" I.D. copper tube to channel the steam. The tube then forks, and shrinks in diameter, to a 1/8" I.D. At the ends, I will place two existing espresso steam wand tips. Having the two different steam wands will also give me the option to play around with ways I can have the steam exit into the air.





I have also been working on the water reservoir component of the beast. The large nylon "belly" rain collector joins into the water tank with snap tape. I glue, then sew the snap tape ribbons on each piece.



p.s. Trouble shooting solved! Earlier I was having trouble with the motion sensor hooked up to the kettle element; the timer was not running as to the time specification I set. It turned out to be a problem related to the kettle element and not the sensor. All the while I was running my tests, I never had the pot filled with water. Once the element was submerged in water, it not longer overheated to quickly thus setting off a the safety switch. Back to the sensor - I need to install a 120V relay to the sensor/kettle element circuit. The sensor is overheating from the high voltage. It normally serves up two light bulbs...this is a wee bit more power than that. tschuss!

BEAST: sketch and make and ponder

I have made an outline sketch of my beast and begun to assemble and build the different components.

The scaffold is a lightweight frame made up with tension cables and L-section aluminum joists, and many many nuts and bolts. I can easily hang, clamp, and fix to the frame (with more nuts and bolts!) my different steam machine components.






The three main components of the Beast:

1) hot water tank
2) water reservoir
3) steam wand

The hot water tank is a component in which I have built in an electric kettle heating element. The heating element is activated by motion sensor (details of copper pot "reverse engineering" below).







The water reservoir is a kind of I.V. drip slowly and continuously replenishing the water content in the tank. A rain collector, installed at the top of the scaffold, draws collected rain water into the water reservoir. The rain collector is a stretchy nylon lined with eyelets which clasp around the edge of the frame (details of water reservoir and fabric below).





The steam wand is a long copper tube inserted into the cover of the copper pot. A long copper tube, expanding and decreasing in diameter carries the steam to the wand end where it then exits into the atmosphere. There are several possibilities as to shape and length of the steam wands. I can recycle the existing steam wand from my the MachinaKafe, or I could model my own steam wand head shape. I would like to see what kinds of steam wand head create what kind of steam "clouds".

Going back to Jenson's paper, I want to recall here her notion that the natural world is dynamic and changeable: there exists no distinction between what is artificial and what is natural.

"It is not possible to isolate the essence of the concept of nature. However, this state of affairs contains a certain potential as regards people’s reflexive interaction with their surroundings: it may provide us with greater possibilities than we have had before to observe and evaluate our own relationship to that which surrounds us."
-Jenson, Remarks on nature, super-ecology, life, production, position and other negotiations

My hope is to make a beast which exists and operates withing different scales and types of systems: atmospheric, meteorological, 19th century steam mechanics, the cultural history of the invented landscape. The beast sympathizes these different conditions into a singular, perhaps chaotic, existence. For example the beast draws from the weather system what it lacks from in extracting in the mechanical construct, and in so doing, allies the complexities and realities of the interdependent ecology we all exist in.

I have been mostly working on the first two components: reverse engineering my copper pot, and making a home made IV drip. I am trying to incorporate details and parts from the first MachinaKafe as I assemble the parts of the beast. Am also looking into parts and details that can be food in kitchen equipment and crockery.



Trouble shooting ! Some trouble has come up with the timer attached to the motion sensor. I would like the kettle, once tripped to "on" by the motion sensor, to run for ten minutes. Unfortunately, it doesn't want to keep the element on for more than 16 seconds. I wonder if this is a result of something in the sensor, or the element... not sure as of yet.