Culture, Art, Technology – Seminar 22.09.21

BK3186 Culture, Art, Technology 1 (2021 HØST)

from the materiality of media into their role as witness/evidence in investigations…

Artistic Investigations: Cultural economies, data, surveillance & ecologies of value.

Shu Lea Cheang

3x3x6 – Venice Biennale 2019

3x3x6 Shu Lea Cheang Taiwan in Venice 2019

“We live in a society where (the) surveillance camera is everywhere. We live in a society where data is our biggest prison. We live in a data panopticon today”

Shu Lea Cheang

This is not the first time Taiwan has staged its Venice Biennale offering in the highly charged setting of the Palazzo delle Prigioni – a medieval prison adjacent to the Palazzo Ducale in Piazza San Marco, which was used as a place of interrogation and incarceration until 1922. But there can be few, if any, previous artists who have used the architecture and heritage of the building to such powerful effect. Shu Lea Cheang’s four room installation, 3x3x6, is an exploration of sexual transgressions over the centuries and the transformation of surveillance technology from the physical architecture of a cell or prison to the digital architecture that now monitors all of us, all the time, thanks to 3D facial recognition, AI and the internet. The title of the work refers to the 3×3 sq metre dimensions of today’s typical prison cell, and its monitoring by six cameras.

Source: Studio International Venice Biennale 2019 video interview

For Taiwan’s collateral presentation at Venice Biennale 2019, with the history of the exhibition venue in mind, Cheang creates a new work named 3x3x6 in reference to today’s standardized architecture of industrial imprisonment: a 9-square-meter prison cell constantly monitored by six cameras. Related to ten cases of imprisonment due to gender, sexual, and racial nonconformity, both past and present, 3x3x6 questions the legal and visual regimes that have formed sexual and gender norms over time. Specifically, Cheang’s exhibition looks to the conditions of nonphysical yet increasingly omnipresent imprisonment in this new digital age.

“With this exhibition we explore the possible strategies for resistance against highly controlled societies, the self-affirming dignity against repression, and the variable versions of self-granted pursuits for (un)happiness.”

ShuLea Cheang

3x3x6 spans four rooms of the Prigioni with an immersive, multidimensional installation. Departing from the architecture of the panopticon invented by Jeremy Bentham in the late eighteenth century, Cheang constructs the exhibition around a rotating and inverted surveillance tower: a 3-D camera surveillance system. From the moment the visitor elects to enter the exhibition they become implicated within the system—their faces are scanned and their image later modified. Here, gender and racial morphing become queer digital strategies to disrupt the tradition of colonial and anthropometric identification techniques. Connected to the Internet, 3x3x6 in turn allows visitors to send selfies and images to the exhibition system. The exhibition visitors are thus inside the total surveillance apparatus.

3x3x6 Ten Cases, Ten Films

Cheang has also developed 10 short trans punk fiction films. To produce these digital videos, Cheang conducted research on ten case studies. Making use of legal documents and historical reports as well as metaphors, fake news, myths, and fantasies, Cheang short-circuits linear time and brings into the conversation characters from different eras and cultures. Normative notions of gender, race, and sexual identity are also challenged—the actors have attributes that differ greatly from the characters and so question preconceived biases and existing conventions.

At the end of the exhibition visitors are directed into a control room where imagery and data converge. By revealing the mechanisms behind the work, Cheang asks us to examine the distance between surveillance and desire—when an individual experiences pleasure and voluntarily participates in observing another, are they not too being exposed to surveillance?

Source: Taiwan in Venice

Laura Poitras


Neuer Berliner Kunstverein (n.b.k.) June – August 2021

In collaboration with Forensic Architecture and Sean Vegezzi
Curator: Marius Babias

Neuer Berliner Kunstverein (n.b.k.) presents the first European solo exhibition by artist and filmmaker Laura Poitras. Her works expose state power by focusing on specific individuals confronting it. Circles includes prints from the ANARCHIST series (2016) – drone and satellite images hacked by the USA – and premieres two new video installations. Terror Contagion (2021) is an ongoing investigation by research agency Forensic Architecture and an accompanying film by Poitras. The work investigates Israeli cyber-weapons manufacturer NSO Group and the use of its Pegasus malware to target journalists and human rights defenders worldwide.

Edgelands (2021), a collaboration with artist Sean Vegezzi, examines obscured nodes of New York City’s violent carceral and policing infrastructure: a 191-meter prison ship, and a covert surveillance unit to monitor political activity in the city.

Together, the works in the exhibition expose how surveillance intersects with physical violence and psychological terror.


Sean Vegezzi, Edgelands

As of September 2021, there are 3 chapters of Edgelands:

  • Edgelands: TARU – a covert surveillance unit that monitors political activity in the city.
  • Edgelands: VCBC – a 191-meter prison ship in the East River, 
  • Edgelands: Hart Island – a burial site that was maintained by prisoners of the Rikers Island jail.

Livestream: Artists talk

Friday, June 18, 2021, 7 pm

With Laura Poitras (artist), Eyal Weizman (director, Forensic Architecture), Shourideh Molavi (lead researcher, Forensic Architecture), and Sean Vegezzi (artist), moderated by Heba Y. Amin (artist, professor at Staatliche Akademie der Bildenden Künste Stuttgart).

From June 18 – August 8, 2021, Neuer Berliner Kunstverein (n.b.k.) presents Circles, the first European solo exhibition by artist and filmmaker Laura Poitras. Her works expose state power by focusing on specific individuals confronting it.

Among other things, the exhibition premieres two new video installations:
Terror Contagion (2021–ongoing) an investigation by research agency Forensic Architecture and an accompanying film by Poitras. The work is an in-depth investigation of Israeli cyber-weapons manufacturer NSO Group and the use of its Pegasus malware to target journalists and human rights defenders worldwide. In Terror Contagion (2021), Poitras documents Forensic Architecture’s ongoing investigation into NSO and interviews journalists and human rights defenders targeted with NSO software.

Edgelands (2021), a collaboration with artist Sean Vegezzi, in which Poitras and Vegezzi continue their explorations of how state apparatuses exert control over civilian life. Beginning in 2020, Poitras and Vegezzi began examining deliberately obscured sites of police, surveillance and carceral infrastructure in New York City, including a covert surveillance unit to monitor political activity in the city, and a giant prison ship off the coast of the South Bronx in the city’s East River, on which a medical crisis is unfolding.

During a livestream, Laura Poitras, Eyal Weizman, Shourideh Molavi, and Sean Vegezzi talk with host Heba Y. Amin about the works in the exhibition, the ubiquity of surveillance systems and the way they shape the material infrastructure of our world, and how surveillance intersects with physical violence and psychological terror.

The work of Laura Poitras (born 1964 in Boston, lives in New York and Berlin) has deep connections to Berlin. In 2006, her film about the U.S. occupation of Iraq, My Country, My Country, premiered at the Berlinale.  Shortly after, the U.S. government placed Poitras on a terrorist watch list: for the next six years she was interrogated every time she crossed the U.S. border. In 2012, she relocated to Berlin to protect her sources, and was contacted by then-anonymous NSA whistleblower Edward Snowden. The resulting film, CITIZENFOUR (2014), won an Academy Award and a German Film Prize. Her reporting on the NSA received a Pulitzer Prize and led to a German Parliamentary investigation into NSA mass surveillance in Germany.

Source: NBK Gallery & Press Release

Louis Cyprien

untitled (Mogadishu, Somalia – 2019) – vidéo 7’30”

Louis-Cyprien Rials, untitled (Mogadishu, Somalia – 2019)

Mogadishu video was born of the artist’s desire to visit one of the most beautiful beaches in the world in one of the world’s most dangerous countries. The Mogadishu region with its deserted paradise beaches of fine white sand is an economic paradox in the eyes of our leisure-based societies and a hell-on-earth for its inhabitants. Somalia is a crucible of human violence and testing ground of permanent war, ravaged for the past thirty years by civil war and more recently by the terrorist depredations of Al-Shabab. The French foreign ministry formally warns French citizens against travel to Somalia owing to the “extremely high risk of terrorist attacks, kidnapping, and homicide.”

Louis-Cyprien Rials’ video work has garnered a great deal of visibility in recent years, not least thanks to its elliptical and suggestive – in the noble, non-sensational sense of the term – character: his films, all of which address violence, are anything but exhibitionist. They evoke rather than explain or demonstrate, and invite one to uncover and assimilate. Essentially, they are an invitation to exercise one’s intelligence.

Mogadishu, 2019, video 7min, Somalia Credit: Louis-Cyprien Rials / sound: Romain Poirier

Unseen, Rials films the unimaginable lurking beneath apparently peaceful landscapes: scenes of desolation, everyday urban landscapes and buildings severed from their original purpose and history. His films are punctuated by a rhythm and/or soundtrack that renders the unseen at the very least disturbing, and sometimes immediately unbearable. When one scratches at the surface of the disturbing and queries what pushed the artist to film such everyday scenes, one comes into contact with the unbearable.

Mogadishu, 2019, video 7min, Somalia Credit: Louis-Cyprien Rials / sound: Romain Poirier

Louis-Cyprien Rials’ work favours landscapes that figure on no map in countries that remain unnamed: these are places and lands whose very existence is denied by the international community, places that have been ravaged by such atrocities and exactions that only ruins, ashes and desolation remain. Using the filter of landscape, Rials seeks to evoke the peregrinations of humanity. He is no reporter, however, since while he’s constantly seeking for evidence, his work features neither witness testimony nor any form of analysis of the catastrophes he observes; the invitation instead is to investigate the causes outside the framework of his films.


Source: Galerie Eric Mouchet, Loop Barcelona 2019

Taus Makhacheva


 In the hope of a good catch local fishermen sail far out into the Caspian Sea before disappearing into the horizon. These “invisible” boats sail into a grey zone – a state of being present and at the same time impossible to locate.

    The fishermen say that in an emergency it is not their death that they dread but the fact that their families would cherish hopes of their survival even if they never returned to shore.

    In the event that a boat capsizes the fishermen tie themselves to the prow that remains floating above the surface of the water as a buoy. This enables their families to find their bodies and mourn their passing. The stories of these people who reconciled themselves to death and are able to speak about it with coldness and detachment lie at the core of the Baida (name of the Dagestan fishing boat) work.

    The work was premiered at the 57th Venice Biennale. The label said that the performance is held daily for the duration of the exhibition in the Adriatic Sea at the following coordinates: 45°23’30.8″N 12°24’47.7″E. In the course of the performance, in the open water several performers would appear and disappear on a capsized boat which was transported from Dagestan.

   Production supported by Gazprombank and “Art Finance” LLC, Moscow.

narrative projects is pleased to present BaidÀ [1] a second solo exhibition by Taus Makhacheva at the gallery. The exhibition developed from research the artist conducted when visiting different fishermen living in the Starii Terek village in Dagestan and working in the Caspian Sea, and her later investigations into fine art restoration and preservation techniques. When having conversations with the fishermen, Makhacheva noticed a recurrent motif in their stories: the risk of being lost at sea and never being found. The work is a comment on the precarity of human life and the struggle to survive against overwhelming economic and natural forces. The artist looked at these stories through a prism of her own experience of the art world, which resulted in Baida [2] (2017), a video/performance work scripted by performance-maker Tim Etchells and commissioned by the 57th Venice Biennale.      

[1] Russian slang for a not entirely believable, nonsense story.

[2] A fishing vessel, a self-made wooden boat with one or several outboard motors. Since the 1990s, it has spread to the northern Caspian for poaching sturgeon.   

57th International Art Exhibition | La Biennale di Venezia, Viva Arte Viva, 13 May 2017 – 26 November 2017

“Conversation in a boat”

The artist Taus Makhacheva talks with Malika Aliyeva, the manager of Taus Makhacheva’s studio and producer of the work Baida.

Taus: Let’s remember how we filmed, why we filmed and what we filmed. Tell me what the work began with as you see it.

Malika: I think that for me the work began with the meeting with Shamil Fiksa, when I was brought face to face with the theme of survival. When you are told what it’s like for someone without food or drink, to be in the water for 9 days in a storm, you really do start to think how you would behave and I am not at all sure that I would have fought. Perhaps I would have just let myself go and that would be that.

What do you think?

T: Yes. I think that that was specifically what struck me in the whole business. You and me, we live in a completely different reality, where tenacity manifests itself, if indeed it does, in a whole other way. And when you come across people who spend 30 days in a small boat that was simply squeezed between the ice floes as they formed like Abakar, or when you talk one to one with a person who spent those nine days without hope in the water, you get a different perspective on your own life. You simply begin to think about what motivates you in everyday existence. Probably it’s that conscious attitude to risk, the awareness of the risk, awareness of the danger that you face every day because of the way of life that you have chosen. That is probably what struck me from the outset on that trip when we travelled with Makhad to the island of Chechen.

When you are working on some product, flashes like that appear that you then come back to time and again, and you realize that you need to work with that because you can’t forget it. You try to think up a work because you can’t forget a phrase, can’t forget a gesture, can’t forget a story you’ve been told. In this case it was the story that Makhad told about the fishermen tying themselves to the bow of the capsized boat that kept afloat because of the empty barrels. If the boat overturned in a storm, the motor would drag it down, but the bow would remain on the surface and the fishermen clutched onto that. And when they had no strength to hold on, they tied themselves on, either so as not to drown if they went crazy or else so their relatives could find their bodies and give them a funeral. That’s a story you simply can’t forget.

M: Yes. That was the most striking thing on that trip. I also remember about Maga – Maga Kamysh, I think his name was – who was taken prisoner in Kazakhstan and held captive there, but he escaped.

T: It was that Maga Kamysh who we went to Novy Chechen to look for. That, by the way, is the start of another amazing story. He was captured by the Kazahstan shore, where the sturgeon are more abundant, by the local poachers, who made him work for them. Each time when he went out to work on their nets, he poured off a small amount of petrol into a bottle and tied it to the nets. And when he had stocked up enough fuel, he used the boat to get away from them. I don’t remember exactly, but I think he was a captive for a few years. And you and I went to look for him and people told us: “That’s right. He’s the very Maga who was kept prisoner.” They say things like that all the time there. My student Olya Sizoi from GITIS (the Russian Institute of Theatre Arts) did a project for which she was looking for a Magomed whose wife had recently given birth to a son and who drives a black Lada Priora (popular Russian car brand). But that applies to every second man in Daghestan. And so she compiled a portrait of one and at the same time several Magas.

But it seems to me that it was a different story about Kamysh: about some fisherman getting marooned and surviving because he ate reeds (kamysh). But I can’t remember exactly.

M: It’s interest that during our first trip no-one would tell us real-life stories, they wouldn’t open up to us, except they happened to let it slip about Fiksa. Because some young girl artists had turned up and for them everything should be straightforward and nice.

T: I think it’s a question of the way they’re used to seeing things. What seems amazing to us is a commonplace story to them.

I was very upset by the existence of one and the same attitude to those places. Nowhere did anyone write about the risk, about the fact that people put out to sea each time, knowing that thy might not come back. And perhaps it would be important not only to tell about them being “bio-terrorists”, as the mass media put it.

Listen, thinking back to the filming, what do you think was the most difficult thing about the shooting process?

M: I remembered how we looked for the first boat. We decided to do some more takes, went out to look for it and couldn’t find it. It was then that I clearly grasped that if we can’t find a nine-metre boat in a small patch of sea, what hope is there of finding a little human being. It seems simply unrealistic.

T: On the other hand, perhaps now we’ll have faith and not give up if such a situation occurs.

M: You know, what I took away is that people are brought together by responsibility for someone else. Shamil was kept going by the fact that he had a young lad in his care, Abakar had his son and another youngster with him. And I realize that often that’s what keeps me going too. The fact that there’s someone else as well.

T: Perhaps you’re right, because I remember Abakar’s words: “How could I not bring a son back to his mother?”

In point of fact, everything somehow came together. That story about the fisherman that prompted the filming, then the water itself around Venice, the works of Forensic Oceanography that I watched. For example, The Left-to-Die Boat from 2014, where a boat carrying 63 migrants was not saved because countries argued over whose jurisdiction it was in.

And also the poetry of Warsan Shire, which includes the line “I thought the sea was safer than the land”. Thoughts in which you connect our everyday reality with that of other people. I again remember a passage from her poetry where she asks how people can be so haughty and think that does not concern them.

This is all cyclical: in the Second World War refugees from Europe arrived in Africa, while today refugees from Arab countries are arriving in Europe. Such a profane matter as the perception of art is also of significance: you see so many works about death, about the sea, about people drowning, and you think how can I make my work significant, avoid it being simply speculation.

I pondered that for the whole year while you and I were travelling around. That is why it seems to me that we travelled through those doubts. We met with people so as to resolve our doubts, and as a result a work like that appeared. And it is a very strange work, because I grasped that it was impossible to do a real-life performance, impossible to bring those fishermen there. You can make an announcement-label that says a performance is taking place every day in the waters of the Adriatic. In those same waters where the government of European countries is refusing to rescue boats carrying people.

Something is happening that does not concern us at all, that is too far off for us, the visitors of the Venice Biennale, to sail to.

Although the boat sank in the Caspian, in actual fact it’s all one and the same expanse of water, where there are many invisible boats – and many invisible people.

When I was at Chioggia, not far from Venice, at the fish market, I spoke with one of the stall-holders. He showed me his boat – the Vittoria Manuela II – on the GPS in his phone, the pinpointed location where it was just then. The visibility of some boats and the invisibility of others puts you in some kind of shock and stupor. You realize that there are several seas around us. Several seas, several oceans, several expanses of water, where some boats are totally visible, and others are an illusion. They are completely invisible.

And it seems to me that the form of this work – the text written by Tim Etchells in London on the basis of 70 pages of interviews that we took with various fishermen; the voices of the actors who recorded the text in London; my work with Sasha Khokhlov, when we put the sound onto the video that we shot in Daghestan in the Caspian, and all of that pretends to be a fictitious film shoot of arty people trying to find a performance in Venice. That is the only possible form of work about these invisible boats, invisible people. It is the only form that could combine within it those doubts, that uncertainty, visibility-invisibility, everything on which we spent almost a year of thinking and research.

M: I look back on the filming process and it’s amazing the way people from a different reality believed in us, although they might not have fully understood us.

T: Yes, they believed that we were trying to do something outside of the bounds of the representation that they are used to. That’s probably why they worked with us, not without some persuasion, admittedly. There were some lone fishermen, some from a base, from here and there. And they all came together.

Yet there was a lot of resistance in the work. I often think of the resistance that accompanied the filming. What does it mean? Do we need to overcome it or change direction? In the end we sank two boats. One was lost, because they didn’t anchor it and it floated away. We sank the second after the first got found.

M: There was that dreadful fog as well, in which we lost Artyom in the boat because he had dropped his phone in the water during the first shoot. I remember the morning of the second shoot, when you had to either accept that you hadn’t managed it or else see everything through to the end. Either untie yourself from the boat and drown or keep on going.

T: Maybe. I was very scared. Everyone was saying, “No, come back in a week’s time… No, we won’t manage to pull a second boat today.” I had already brought all my secret weapons into play. Everyone was already worked up. I don’t know, maybe that is what it means to see something through. Oh well, history will tell.

Source: Gazprombank Corporate Art Collection

The Missing CryptoQueen 


BBC Sounds: The Missing Crypto Queen

Dr Ruja Ignatova persuaded millions to join her financial revolution. Then she disappeared. Why? Jamie Bartlett presents a story of greed, deceit and herd madness.

RYBN talk art, algorithmic investment and offshore tourism at Dark Havens

Tax Haven Tourism + Algorithmic Investment + Psychogeography + Art as Financial Optimiser + #DNL15


RYBN walk us through the Offshore Tour Operator to explore local traces of the transnational and liquid financial industry, and introduce classic tax avoidance schemes the Double Irish, Singapore Sling, Bermuda Black hole and Dutch Sandwich. A situationist GPS prototype for psychogeographic drift encouraging you to create concrete visual representation of the opaque and offshore, thus reshaping the imaginary around tax havens.

The Great Offshore addresses the question of representation of offshore finance: due to its opaque nature and the secrecy that surrounds it, it is impossible to picture. The symbolic representations that are usually in use are, as many invitations to evasion, filled by colonial images of exotic islands, of palm trees beaches and golden sands, infinite walls of numbered mailboxes, that contribute to the aestheticisation of financial power. In a similar fashion, as Alain Deneault underlines it, the vocabulary in use to describe offshore finance is not neutral, and produces a positive, technical, legal and legitimate picture, that neutralizes critics.

As a consequence, either within semantics or semiotics, we face a representation crisis. To overcome this representation failure, The Great Offshore project seeks for traces of this transnational and liquid financial industry, to capture how it marks local landscapes, architectures and environments. The Great Offshore project aims to reshape the imaginary around tax havens, by re-engaging with the situationist strategies of psycho-geography, enhanced by digital and algorithmic means. During the talk, RYBN unfold the different chapters that composed the project and its artistic, semiotic and political dimensions.

RYBN.ORG (Extra-disciplinary Artistic Research Platform, FR) Moderated by Ela Kagel (Digital Strategist and Founder of SUPERMARKT Berlin, DE) RYBN presents the “The Great Offshore” project, an artistic investigation conducted in several tax havens.

Offshore Tour Operator directs you through addresses from the ICIJ Offshore Leaks database to discover the premises of businesses listed in the Offshore Leaks, Bahamas Leaks, Panama Papers, and Paradise Papers. Photographs of buildings listed at each address capture the offshore economies in the local landscape, architecture and environments.

RYBN Offshore Tour Operator

Offshore Tour Operator is a situationist GPS prototype, orientated toward a computer assisted psychogeographic drift, that dictates the walk of the user through the ICIJ Offshore Leaks database addresses – including the Offshore Leaks, the Bahamas Leaks, the Panama Papers, the Paradise Papers. The prototype exists in two versions : a DIY open hardware version, using a raspberry pi 0 coupled to a GPS, and an android app.

ALGOFFSHORE TAX OPTIMIZER THROUGH ART is a system that generates tax optimization schemes, using art as a speculative vehicle. Taking advantage of every possible offshoring strategy to compute a personalised solution for any interested art collector, the user can customise the optimisation scheme with personalised parameters and dedicated algorithms.

+ Workshop / Psycho-Geographic Tour  of Berlin shell companies & shadow finance offices with

What is psychogeography? :: an exploration of urban environments that emphasizes playfulness and “drifting,” originating with the Situationist International movement. Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” It has also been defined as “a total dissolution of boundaries between art and life,” and “a whole toy box full of playful, inventive strategies for exploring cities… just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.


Psychogeography: delve into the soul of a city

Psychogeography, as the term suggests, is the intersection of psychology and geography. It focuses on our psychological experiences of the city, and reveals or illuminates forgotten, discarded, or marginalised aspects of the urban environment:

The transition of a space from one use to another undergirds much of psychogeography’s preoccupation; the notion of a palimpsest – an object or piece of writing with new material superimposed over earlier writings – is particularly important. Psychogeography thrives as an interrogation of space and history; it compels us to abandon – at least temporarily – our ordinary conceptions of the face value of a location, so that we may question its mercurial history.

Siobhan Lyons The Conversation 2017


Confronting Hidden Money & Power

#DNL15 DARK HAVENS brings together people from around the world who have been part of global investigations and leaks, have blown the whistle on corporations, been put on trial, and who have taken severe personal risks to confront hidden money and power.

15th conference of the Disruption Network Lab. Curated by Tatiana Bazzichelli. In cooperation with Transparency International.

Disruption Network Lab: Dark Havens

Twitter: @disruptberlin

Dark Havens, Disruption Network Lab

ReImagine Europe

Tatiana Bazzichelli and Lieke Ploeger of Disruption Network Lab explain how their vision of ‘examining the intersection of politics, technology, and society, to expose the misconduct and wrongdoing of the powerful’, is achieved through bringing together communities of trust in highly focused conferences and meet-ups. In this interview with Jodi Rose they also discuss the strategies they use to organise and curate community events, and reflect on how these could be adapted and used to bring about change worldwide.


Jodi Rose: What’s the most surprising thing you’ve learned?

Lieke Ploeger:

You always wonder who is going to show up and what their background is. We even had a retired police officer in the audience at one meet-up. I’m interested in knowing who are the people who find us, come back, and ask questions in the conference.

Tatiana Bazzichelli:

To give visibility and support to people who are doing critical work is really important. Brandon Bryant, a former drone operator in the United States Air Force who turned whistleblower, was speaking at Disruption Network Lab in front of a large public about the Drone War in 2015. It was very important for me to meet him, because it completely changed my perspective. I wouldn’t have met him twenty years ago when I was involved in Italian activism, because we were in different circuits. I would have considered him the enemy. Meeting him and hearing about his whistleblowing experience helped me to shape the future direction of the programme.

I learned about the impact of changing opinion, and about the value of connecting people who work on social justice and whistleblowing in very different fields and levels.The boundaries that separate us are almost non-existent.

We can connect with people from different backgrounds and have a common mission. Meeting Brandon Bryant made me understand how important whistleblowers are as people who decide to act within their systems. They are really able to re-orient what is happening in society. What they do comes with great personal risk and a possibly a huge devastating impact on their life. They suffer isolation, persecution but at the same time they provide a wonderful change of mind. This encounter with the unexpected still inspires how we work at Disruption Network Lab.

ReThinking Communities, Disruption Network Lab

This article is part of the Re-Imagine Europe publication. The publication collects articles, essays, interviews and reports about audience engagement for interdisciplinary arts organisations. It aims to share knowledge gained throughout the Re-Imagine Europe project with professionals in the cultural sector who would like to gain a deeper insight in audience development and capacity building.

Springerin: Issue 3/2021

Digital Ecology

Climate catastrophe and digitalization. Leaving aside the pandemic, which continues to shape all realms of life, these two issues are probably among the most pressing topics today. The recently published report from the Intergovernmental Panel on Climate Change (IPCC) demonstrates clearly – and scientifically – that there is no longer any way to avoid the climate emergency. The question is simply what can still be done effectively by whom to avert the worst-case scenario. For some time now there have been a wealth of artistic proposals on that front – in fact, it almost appears that the climate catastrophe has also irrevocably hit contemporary art over the past year.

However thematic trends are often short-lived – or shaped by the periods in which they unfold, as a look at digitalization and its influence on the art scene reveals. While the digital realm was once the disruptive new factor that sparked invention of its own specific artistic genres (electronic art, post-internet art, etc.), it has now become a kind of latent backdrop to art production. Hard as it is to imagine contemporary creation without it, its cutting-edge character has been almost entirely eroded when it comes to tackling artistic concerns per se. Nowadays, the technological aspect often appears more progressive than art itself, and on many fronts one finds oneself longing for a corrective to this skewed relationship.

But let’s return to the digital and ecological dimensions: on the one hand, an advanced technology whose environmentally detrimental downside was long underexamined; on the other, discourse about an object that is far too large by human standards (the “hyper-object” of the climate), which might perhaps be better managed with the help of the digital sphere. In other words: on one side, a powerful cultural force that until recently had scant interest in ideas of sustainability and securing survival; on the other hand, an often technology-skeptical struggle to convey the big picture – the more-than-just-human interconnection between all life-forms, irrespective of their environments. In that struggle the digital, as the spawn of the beautiful, smart immaterial dimension, was always a little suspect. Ecology and big tech? That sounds a bit like trying to force two long-standing antipodes to come together.

It long seemed that there was scarcely any connection between the increasingly technological thrust of information and communication media and the question of how long a stable ecological balance can be maintained. It was likewise also long the case that barely any attention was paid to the connection between artistic means of production (and reception) and consumption of natural resources. That is currently beginning to change, thanks at least in part to the many artists who consciously and reflectively incorporate ecological questions into their work. In addition, in the worlds of business and culture, the more profound and/or longer term ramifications of day-to-day utilization of the digital sphere are also becoming increasingly apparent in environmental terms. In addition, speculation has now emerged as to whether artificial intelligence, if judiciously deployed, might possibly generate greater ecological sustainability than solutions dreamt up by human beings (that are usually immediately abandoned or impossible to implement).

Roberto Simanowski speculates along those lines and asks whether in this respect the idea of a “benevolent dictator” would not logically need to gain ground – with all the contradictions and anticipated objections this implies. An “eco-AI” that would need to adopt a superhuman perspective to save the world is also the premise explored in James Lovelock’s latest book about the Novacene. The inventor of the Gaia theory takes the view that only the hyperintelligence currently emerging would be capable of keeping the planet habitable – more than good grounds to consider sketching out a digital ecology through the prism of this approach.

Maja and Reuben Fowkes engage more closely with the current art scene. Their essay surveys the field of ecologically motivated art to detect visions and points of critique vis-à-vis the digital high-tech world. A key question that is also one of the central points of reference in other essays is whether artistic “decodings” of today’s promises for the future can actually also transmit decolonial or democratizing impetuses. Diedrich Diederichsen, for example, takes a novel by Thomas Pynchon as the starting point for an examination of the transformational potential inherent in cybernetics-critical approaches since the 1960s. With reference to the artistic present, Daphne Dragona looks into the ethical dimension of art that critiques ecology and digitalization – in order to focus, inter alia, on new forms of the kind of “extractivism” that has long characterized Western conquest and exploitation of the world.

Waste production is the flipside of relentless exploitation of commodities. Olga Goriunova and Matthew Fuller address this aspect in their essay, which – against the backdrop of digital culture – relates not only to the mountains of scrap that grow higher by the day, but also the general waste of time, work and energy inexorably associated with this phenomenon.

So how do digitization and sustainability actually fit together? How to reconcile, on the one hand, production that is increasingly outsourced to the digital world or is inherently rooted in that context and, on the other hand, concerns about resource scarcity, environmental issues and humankind’s inexorably expanding CO2 footprint? The “Digital Ecology” issue examines the tangible potentials and implications of this nexus. Will electric sheep find themselves dealing with androids that are less environmentally destructive and will post-human subjects even have dreams about the future? This more than timely thematic issue ponders all these questions.   

  • Sabine Maria Schmidt: It is a Forest, not a Tree. The Werkleitz Festival 2021 Traced the Contours of the „New World (Dis)Order” 
  • Jens Bülskämper: Salvation and Hubris from the Server Room. The Exhibition Sensing Scale Explores the Influence of Planetary Networks on Our Lives 
  • Jochen Becker: Cinema vs. Empire About Vincent Meessen’s Film Juste un Mouvement (2021) 
  • Taguhi Torosyan und Stefanie Wuschitz: Trust Must be Beautiful, or My Fair Mining? Reflections on the Crypto Movement 


ALGOFFSHORE is a series of algorithmic flowcharts that documents various strategies of offshoring and tax optimization. The algorithms are conceived on a documentary basis, from the analaysis of wellknown strategies and tries to synthetize patterns and recurrent elements that are shared between the studied strategies. Each algorithm tries to expose the unrecognized genius behind the elaborated structures conceived to avoid taxes.

ALGOFFSHORE 1 : TAX AVOIDANCE SCHEME GENERATOR is the result of a study of the classical tax optimization schemes, such as the Double Irish, the Singapore Sling, the Bermuda Black hole, the Dutch Sandwich. It tries to summarize all those techniques, and aims to automatize the creation of an optimal offshore structure, finding the best routes, in order to not pay any taxes. The ultimate goal is to obtain the most favorable and flexible fiscal conditions. The algorithm use the whole palette of offshoring tools and techniques : clause de fuite, misprincing, internal banking systems for loans to create artificial debt, etc.

ALGOFFSHORE 2 : TAX OPTIMIZER THROUGH ART is a system that generates tax optimization schemes, using art as a speculative vehicle. The algorithm takes advantage of every possible offshoring strategies to compute a personalized solution for any interested art collector. The user can customize the optimization scheme with personalized parameters.

ALGOFFSHORE 4 : CRYPTO-LAUNDERER MACHINE is a system that takes advantage of crypotcurrency specificities to anonymize and launder any inputs of crypto incomes. The model uses a tumbler to mix various inputs of cryptocurrencies from a pool to erase any traces to one’s ownership, and proposes various circuits of conversion to fiat money.

Graphic Score Examples

Bridge Music Notation

Anthem Score music notation transcribed from bridge sound recordings

AI Generated Bridge Lyrics

Created by

A vision of fate has led astray

Burning the bridge at dusk


An ivory bridge

For love, for art, for peace, for words

For dying, for starting

A concrete bridge over streams

And the bridge is down
A golden bridge
Every bridge that was burned and every bridge that was smashed
Every train that came to town and every plane that hit the ground
On the bridge, you pay our toll
The streets are full of memories

Oh we danced on the edge of a bridge

Oh you left me this way

I dance on the opposite shore

I will be a bridge, be a bridge

So build a bridge to the sun, nobody else to know
Plant the wind beneath the earth, wait to destroy the flood
Wash the sin from our skin, build a bridge high and high
They tell me about the bridge
Cause if you build a bridge between you and I
Just imagine where it will end up

I need to feel a spark inside my soul

I need to rebuild a bridge

You and me we can bridge the vision

bridge the gap

Maybe we can bridge the vision

bridge the vision gap

My fallen angel, my burning bridge

Go on go far away from here

Like the sacred

On our sacred bridge

I had to break my bike in half

I had to crash my car into a bridge

Yeah, you got me walking on the edge of a bridge

Your gonna smile on me, sweet love

We hung fifteen balls on the bridge of the Brooklyn Bridge
Where are you, girl, where are you?
I was on the bridge, on the bridge
Yeah, I was on the bridge when they came and took the bridge
We break our bodies
On this wooden bridge
Build me a bridge or maybe two
If I do you can mend my heart
Danger, darling you make me violent, crazy, I jump off the bridge to tell you
Kinda like the moment you took everything I had
I was on the bridge, on the bridge, on the bridge
Yeah, I was on the bridge when they came and took the bridge
We break our bodies
On this wooden bridge

Generated using

Composition based on recording the vibrations in the structure of bridges from around the world. A sonic sculpture creating a collective space for reflection as you pass through the bell tower into the Church of our Lady.

Contemplating the bridges from everyday to eternity.

Signal on the Silver Bridge, Part One: Everyday
Signal on the Silver Bridge, Part Two: Transformation
Signal on the Silver Bridge, Part Three: Eternity

Signal on the Silver Bridge

Torsdag 29. april, Vår Frue kirke

I klokketårnet på Vår Frue kirke blir det urpremiere på en helt ny lydinstallasjon med lyden av vibrasjoner fra Den australske lydkunstneren Jodi Rose er kjent for sitt broprosjekt Singing Bridges, der hun lager verk basert på vibrasjonene til brovaiere over hele verden. Det nye verket Signal on the Silver Bridge er basert på opptak av vibrasjonene i strukturen til tre norske gangbroer. Rose skaper et særegent sonisk rom i klokketårnet til Vår Frue kirke som antyder broer vi ikke vet hvor fører hen. broer.

Only Connect Trondheim 2021

Only Connect Trondheim: Come What May


Commissioned by Bjørnar Habbestad for Only Connect NyMusikk Festival, ‘Come What May’’ 2021 Edition in Trondheim. Jodi Rose designed a site-specific installation composed with her archive of global bridges for the Church of our Lady bell tower.

The Global Bridge Symphony is supported by APRA AMCOS Art Music Fund.

Thanks to the Ny Musikk team, NTNU, KiT, Øyvind Brandtsegg, David Rych, Alex Murray-Leslie, Jacob Jessen, Mari Bastashevski, Jordan Sand and Øystein Fjeldbo.

Jodi Rose is an artist, composer and creative director of Singing Bridges, an urban sonic sculpture playing the cables of bridges as musical instruments on a global scale, connecting bridges around the world in a Global Bridge Symphony. Rose is studying Artistic Research (MFA) in Art & Technology at Trondheim Art Academy, Norway.

I’ve started digging through the tutorials saved in earlier posts and found the first two not that useful. The Generative Jam Template Belibat uses relies heavily on existing modular synths, and while it gives some helpful process tips in terms of the kinds of modulations one might choose to make to a note, it’s not that relevant to playing bridge samples and modifying them. Then checked out the tutorial on web audio, which is far more helpful and leads me to the next phase, although I diverged fairly quickly from his process, because again it’st about modulating the pitch and duration of existing notes.

What I’m trying to do is bend and stretch, shift pitch and duration of an existing audio sample, that can be already a fairly complex sonic landscape, not only a single note.

This systems music is by far the most exciting how-to I’ve found yet + and horrifying though the prospect is, it looks like I am going to have to go back to that mimic future learn course and the other one I signed up for but didn’t get all the way through and knuckle down to learn JavaScript, so I can make sense of these things. Damn!

Learning Web Audio by Recreating The Works of Steve Reich and Brian Eno

by Tero Parviainen (@teropa)

In this guide we’ll explore some of the history of systems music and the possibilities of making musical systems with Web Audio and JavaScript. We’ll pay homage to three seminal systems pieces by examining and attempting to recreate them: “It’s Gonna Rain” by Steve Reich, “Discreet Music” by Brian Eno, and “Ambient 1: Music for Airports“, also by Brian Eno.

After two days in the studio I worked through so many of the conceptual questions that have been bugging me for months. And opened up a stack of new ones.

Basically, I managed to hack my way around the twotone file structure and get my bridge samples into their system, playing as instruments in the data sonification tool.

Brooklyn Bridge plays trumpet Data Sonification TwoTone Example 1

Trumpets now play the Rama VIII Bridge in Bangkok, and the glockenspiel plays the Golden Gate. Problem is, all of these bridge sounds are already so complex, once you start mapping them to different notes in response to the shifts in data, it’s pure sonic chaos! If I had a system that played a sample and shifted the pitch as the data changes, that would be way more seamless. I am enjoying the ad hoc nature of this process though and the way it is forcing me to consider at a much deeper level, the relationship between the data and the sounds.

Golden Gate Bridge Accelerometer Data Sonification TwoTone Bridge Mix Example 2

As imagined, the one to one parameter mapping of sound sample to dataset is not actually that interesting. In terms of compositional complexity – it gets repetitive very quickly. And, extremely dense sonically if I haven’t chosen the initial samples well.

Something one note, simple, not too much going on, without multiple beats or tones.

I have uploaded composition samples, in the process am still navigating how much of this creative experimentation to share and what to keep private for the eventual ‘outcome’. Although as we discussed in the Publishing as Practice workshop today, having ways to show your artistic process can be both liberating and engaging.

Liberating, because it frees you from the grip of perfectionism + as my dear friend Ernest always says: finished is better than perfect! Engaging because while it may pierce the bubble of mystery around your work, it can also make you more approachable. Since this is a project that relies heavily on collaboration, for me it makes sense to make the process as transparent as possible. This allows potential creative partners to dive into the various threads of creative process, and gives a quick overview for anyone interested in working together. It’s also a little alarming, as nothing is ‘finished’ and I don’t feel nearly ready to make it public. Yet here I am, writing for you – whoever you are, dear reader – to lay my artistic soul bare.

There was something else. Ah yes, the constraints of the TwoTone platform mean that I have to take a very ‘zen’ approach to the work. Like the Tibetan Monks I saw in New York City back in 1989, drawing sand mandalas. So intricate and beautiful, painstaking work that they released into the river once it was finished. You can’t stay attached to the outcome if you keep working through the process, over and over again.

Also that there is no ONE definitive work that will come from this. Many variations will emerge. And I am starting to make peace with that as part of the creative process.

I think perhaps I had envisaged – or ensounded? – a massive, global, all the bridges playing together event. But honestly, that is only possible as a conceptual frame. If you take even the 29 sensors on the ONE bridge and try to make a piece out of them, the sonic chaos resulting is going to be almost unbearable to listen to. So I need to find ways to pin it back into a context or reason for listening, and connecting. That is, the bridges have to relate to each other in some way, and to my own practice and experience. Otherwise it becomes totally random. I am starting to find more interesting questions through this process. And dealing with technical issues that I hadn’t even considered – like the sheer volume of data generated by a bridge sensor. And the compatibility or otherwise of the various types of data with each other and the systems I need to use for creating sound compositions.

As an example, I have figured out that the selected storm data from the Hardanger Bridge structural monitoring sensors is only available in mat format but the csv files I need are massive and broken down by hour, throughout the day. So I needed to find out exactly what time did this storm hit? Hurricane Nina seems like a good place to start. Around 2-8pm on a Saturday, 10th January 2015 – now I have attempted to open those csv files but their compression is not playing nice with my computer. It takes another level of engagement now to connect with the engineers and find out if they are interested in the sonification process, and how possible it is to switch formats.

I am charmed to discover that the accelerometers used are made by Canterbury Seismic Instruments, in Christchurch New Zealand, where my mother and grandmother were born. Which makes complete sense, given the magnitude and frequency of earthquakes NZ needs to monitor. Cusp-3 Series Strong Motion Accelerographs.

Technical Specifications PDF – curious, is it possible to convert to audio signal?

I have done this with the B&K accelerometers on the Green Bridge permanent installation in Brisbane, and it only took a simple adapter…


That brings us up to date, and my decision now to try selecting more subtle bridge samples as a starting point, and find out how they sound using the two datasets I am already working with. Then I need to get my head around the generative composition tools and work on mapping out the structure of the piece for the Church of Our Lady.

Thanks to the generous structural monitoring engineers at NTNU, I have access to an incredible range of accelerometer data from the Hardanger Bridge. It only took one more specific search term, and is published under a creative commons (cc-by) license.

Now the fun really starts – downloading the csv files: LowWind, HighFreq; MaxLift, LowFreq, MaxPitch, HighFreq (which I misread as MaxPatch and thought OMG they have sonified it already! Although perhaps they have. I still need to write and make contact) MaxDrag, LowFreq… The monitoring sensors are in place since 2013, there is seven years of data. And the storms – Storm Nina, Storm Ole, Storm Roar, Storm Thor!

Image Credit: NTNU Department of Structural Engineering, Trondheim

Wind and Acceleration Data from the Hardanger Bridge

By Aksel Fenerci, Knut Andreas Kvåle, Øyvind Wiig Petersen, Anders Rønnquist, Ole Øiseth Published 18-08-2020 at Norges teknisk-naturvitenskapelige universitet 2764 views

The dataset consists of long-term wind and acceleration data collected from the Hardanger Bridge monitoring system. The data are collected through wind sensors (anemometers) and accelerometers that are installed on the bridge. The dataset includes both the raw data (in “.csv” format) and the organized data (with “.mat” extension based on hdf5 format). Downloadable zipped folders contain monthly data with different frequency resolutions, special events (storms, etc.) and the raw data. Details on the organization of the data can be found in the readme file and the data paper, both of which can be found in the dataset.

Resource type: Dataset

Category: Teknologi, Bygningsfag, Konstruksjonsteknologi

Process or method: GPS, Wi-Fi, accelerometers, anemometry, signal processing

Geographical coverage: Hardanger, Norway

Fenerci, A., Kvåle, K. A., Petersen, Ø. W., Rönnquist, A., & Øiseth, O. A. (2020). Wind and Acceleration Data from the Hardanger Bridge.

Datasets and Weather

Ok I’m breaking this down now – the CSV files are by year and month eg. Raw 2015 1.

Storms happen in January, Storm Nina: 10th Jan 2015, Storm Thor: 29th Jan 2016.

So to focus on the storms, go for the first month. I can’t use their smaller already selected and edited mat files in the data sonification tool. Maybe it’s possible to conver mat to csv? (oh that question that opens up a whole new can of worms!)

And have just discovered that my idea works to replace the audio files in the twotone sampler with my own bridge sounds… except that I have to go through the meticulously and make each NOTE as a bridge sound, as they move up and down on the scale while playing the data. I think that’s enough for today. Back to the sensors.

For now I’m taking the full month raw csv files and parsing them by date. You gotta start somewhere – Storm Nina go!

Poetic Storm Nina Video Homage

Storm Norway – Sandvikjo stormen Nina 10.01.2015 – Halsnøy by monica

Ivar Aasen

Mellom bakkar og berg ut med havet
heve nordmannen fenge sin heim,
der han sjølv heve tuftene grave
og sett sjølv sine hus oppå dei.

Han såg ut på dei steinute strender;
der var ingen som der hadde bygd.
«Lat oss rydja og byggja oss grender,
og så eiga me rudningen trygt»

Han såg ut på det bårute havet,
der var ruskut å leggja utpå,
men der leikade fisk nedi kavet,
og den leiken, den ville han sjå.

Fram på vinteren stundom han tenkte:
«Gjev eg var i eit varmare land!»
Men når vårsol i bakkane blenkte,
fekk han hug til si heimlege strand.

Og når liane grønkar som hagar,
når det lavar av blomar på strå,
og når netter er ljose som dagar,
kan han ingen stad venare sjå.

Sud om havet han stundom laut skrida:
Der var rikdom på benkjer og bord,
men ikring såg han trelldomen kvida
og så vende han atter mot nord.

Lat no andre om storleiken kivast,
lat deim bragla med rikdom og høgd,
mellom kaksar eg inkje kan trivast,
mellom jamningar helst er eg nøgd.

Lyd Mellom bakkar og berg ut med havet


Between hills and mountains out to sea raise the Norwegian get his home, where he himself raise the tufts dig and put their houses on top of them. He looked out on the rocky beaches; there was no one who had built there. “Let us clear and build our villages, and then own the rudder safely » He looked out on the stretcher sea, there was debris to lay on, but there were fish playing down the cave, and that toy, he wanted to see. Until the winter he sometimes thought: “I wish I were in a warmer country!” But when the spring sun on the slopes shone, he got the urge to say home-grown beach. And when liane greens like pastures, when it blooms of flowers on straw, and when nights are as bright as days, he can see no city venare. South of the sea he sometimes loudly slid: There was wealth on benches and tables, but around he saw the bondage quiver and then he turned north again. Let no others about the size kivast, let them brag with wealth and heights, between cookies I can not thrive, between jams preferably I am satisfied.

Sound: Between hills and mountains out to sea

Wind-induced response of long-span suspension bridges subjected to span-wise non-uniform winds: a case study

Master thesis – NTNU Norwegian University of Science and Technology. Department of Structural Engineering. [E.M. Forbord & H. Hjellvik]

The response has also been predicted using wind data from the Hardanger Bridge, and the predictions have been compared to the measured response. Uniform profiles of wind speed and turbulence have been given different values based on the measured data, more specifically the mean value of all sensors and the value from the midmost wind sensor. It is seen that the choice of value does not affect the accuracy of response predictions. No matter what values are chosen, the predictions are quite inaccurate in general. lntroducing a non-uniform profile of mean wind speed makes the predictions slightly better in some cases, but not noteworthy, and the accuracy is still relatively low. When also including the non-uniformity of turbulence in the response calculations, the predicted response is reduced and the accuracy worsened with respect to the measured response. Accounting for the non-uniformity of self-excited forces shows almost no effect on the predictions. It is concluded that non-uniform wind profiles do not improve the accuracy of predicted bridge response, and that other uncertainties in the calculation methods have larger impact on the predictions than whether the non-uniform profiles are included or not.

2.1 Random Vibration Theory

6.2 Influence of Non-Uniform Turbulence Standard Deviations

In this section, the influence of span-wise non-uniform turbulence standard deviations on the dynamic response will be presented. Three wind speed profiles have been analysed with different turbulence std profiles. The wind speed profiles used are the linear profile and the sinus profile shown in Figure 5.5a and 5.5d, in addition to a uniform wind speed profile. The three different turbulence std profiles shown in Figure 6.15 are studied. They all have the same integrated sum along the span to make them comparable. The two non-uniform turbulence std profiles chosen have the opposite shapes of the wind speed profiles used in this section, because this is often seen in the measurement data from the Hardanger Bridge. Both of these turbulence std profiles will be compared to uniform turbulence standard deviations, for all the three wind speed profiles. The horizontal turbulence std has a span­ wise mean value of 20% of the wind profile’s mean wind speed, and for the vertical component the corresponding value is 10%. The effect of turbulence std on the response is included in the calculations through the wind spectra, which have a quadratic dependancy on the turbulence std, as shown in Eg. (2.40). The span-wise variation of wind speed is also included in the formula. Therefore, to study the effect of the turbulence std profiles isolated, the response using a uniform wind speed profile and different turbulence std profiles has been calculated. In addition comes the linear and sinus wind profiles, to study if the same turbulence std profiles have different effect on these than on the uniform wind speed profile. The calculated response will only be presented for wind profiles with the mean wind speed of 10 mis, because the trends, the shape and differences of the response along the span are nearly the same for all mean wind speeds for the different wind speed profiles.

6.3 Influence of Non-Uniform Self Excited Forces

To study the influence of span-wise non-uniform self-excited forces on the dynamic response, several wind speed profiles have been numerically tested with both uniform and non-uniform self-excited forces. The non-uniform self-excited forces are caused by the non-uniform wind profile. The re­ sponse is predicted with uniform self-excited forces where the aerodynamic properties are dependent on the mean wind speed of the wind profile, and with non-uniform self-excited forces where the aero­ dynamic properties vary along the span with the wind speed. Toen the bridge response in both cases are compared. The wind profiles tested are presented in Figure 5.5. As in section 6.1, the standard de­ viations of turbulence components are span-wise uniform, such that the influence of the non-uniform self-excited forces are investigated separately. The horizontal and vertical turbulence standard devi­ ations have been set to 20 and 10%, respectively, of the horizontal mean wind speed.

The influence of the non-uniform turbulence standard deviation has connection to the shape of the wind speeds along the span. As discussed previously, the response shifts to where the wind speeds is largest. The same can be said about the turbulence std. It was seen that the wind is dominating and shifts the response more than the turbulence std, for this particular shapes and ratio between the mean wind speed and standard deviation of the turbulence components. The horizontal shift in the response due to the non-uniform turbulence std comes from the cross-spectral densities of the turbulence components which is high when two points with large turbulence std are considered.

The effect of including the non-uniform self-excited forces on the response increase with the mean wind speed of the wind profile. The difference between the response using non-uniform and uniform self-excited forces are largest for the highest mean wind speeds studied. The lateral response using non-uniform self-excited forces deviates less from the response using uniform self-excited forces compared to the vertical and torsional response. This is due to the aerodynamic derivatives which has been taken as zero. The reason for the large ratios in the vertical and torsional direction is the aerodynamic derivatives that reduce the total damping and stiffness of the structure as mentioned. For lower mean wind speeds, 10-20m/s, the difference is below 10% for all response components.

Masters Thesis NTNU 2017 permanent link

I think it’s safe to say they haven’t sonified it… yet!

Here are a few more links open from my research on the Hardanger Bridge

Official Website

General Norway Bridges info

The Neglected Bridges of Norway


Data Sonification toolkit coming together!

Today I’m learning about TwoTone and how to resuscitate a dead web audio interface. The wonderful Øystein Fjeldbo comes by to help me navigate this brave data world, and talks me through some of the options I’m exploring to make a proof-of-concept.

First up, based on a tutorial in the Brexification post from MCT Music Commmunications Technology Master’s student blog at NTNU. This process turns out to be not that adaptable as their sonification works by changing the pitch of a generated tone, and for my purposes I need to pitch shift a sound sample.

However, it’s very handy that it comes embedded in Max for Live (Connection Kit) and I get the sense of how easy it could be to use, once I can add my own sound samples to and swap out their GPS coordinates for the weather at specific bridge locations.

Golden Gate Bridge Accelerometer Data Sonification Example 1 TwoTone

I can change the API to another live data stream, but there is no simple way to swap their synthesised sounds for a sample player. It turns out to be a completely different process, applying parameter changes to a tone generated by the patch, rather than making changes to an audio sample. So, we take a look at the patch made by the students, who have adapted it to their own needs – but again, this is too specific and not quite what I want to do. Now I’m a little concerned that I will have to give the process over to a custom build, but when we look into the code for the mysteriously vanishing TwoTone app, it turns out this is something Øystein can help me rebuild.

What is it for?

TwoTone can be used for understanding data through listening. It makes data more accessible.


TwoTone can be used by itself or in tandem with visualization. Just like in the cinema, sounds add another layer to understanding.


TwoTone is a fun and intuitive way to make your own compositions without any prior musical or technical knowledge.


Or so the twotone web audio app promises – sadly their domain is no longer active. Even though it was launched with great fanfare on the 5th March in 2019. Only two years on, and it’s already obsolete. “TwoTone is imagined and made by Datavized Technologies with support from Google News Initiative. We hope you like it.” Did Data Sonification fall out of fashion so fast? Luckily it’s open source, and thanks to GitHub, the code still exists. But I have no idea what to do with it, or where to start. introduction

Where did it go? Technology graveyard from two years ago. Google labs and all.

The talented Øystein, who teaches Data Sonification manages to get this zombie code going… from the graveyard of

It’s such a beautiful and simple concept, a data sonification web-based audio tool. You simply upload your dataset and then can choose instrumentation, key, duration, etc. Once we have it running on my browser, I start working my way through the tutorials.





Nodejs – another thing we had to install to get TwoTone working!

I really have no idea what any of this means, but I trust that Øystein knows!

Despite not being able to swap out my own sounds with the pre-made samples, it’s satisfying working through the options to make interesting sonification compositions.

Golden Gate Bridge Accelerometer Sonification TwoTone Example 3

I’m pretty happy to be able to add my own csv data sets – a couple of examples from my research. Golden Gate Bridge accelerometers recorded on mobile phone by Stephen Wylie, via kaggle This is one minute of data from the “Linear Accelerometer” of the Physics Toolbox Suite v1.8.6 for Android. The data was collected from a Pixel 2 phone on the east side of the Golden Gate Bridge at the midpoint between the two towers of the bridge at approximately 3:20 PM local time on May 12, 2018. CCO Public Domain.

the original data sonification composition sounds like this…

Golden Gate Bridge Accelerometer Sonification TwoTone Example 2

the export is doing a glitchy thing where it only gives a minutes of the sound, not all 30 minutes… I manage to change the key and duration of the notes for variation

But it’s only a problem with this one, not my next attempt using pedestrian data from the Brooklyn Bridge.


Transporation: Brooklyn Bridge Pedestrian Count

Towards Manhattan / Towards Brooklyn. Weather summary, precipitation

Brooklyn Bridge Pedestrian Data Sonification TwoTone Example 1 (Drone)

Now it gets fun to start playing with filters: defining the key, speed and instruments

Brooklyn Bridge Pedestrian Data Sonification TwoTone Example 2

I’ve figured out a hack to get my own samples in there – just have to name them exactly as the existing sets are named. Going to work on that tomorrow. Here’s a preview:

Golden Gate Bridge Accelerometer Data Sonification Bass & Bridge Example 3

There’s a range of durations, from 02 seconds to 14 seconds, and I think the actual notes can be sacrificed for a variety of sounds. This is where it starts to get really creative! And sounds like some wild free jazz. Now I need to do some more study in order to really get a sense of the possibilities of sonification. Here’s the lecture series by Thomas Hermann – one of the people who literally wrote the book on sonification.


MCT Data Sonification course taught by Thomas Hermann: techniques beyond parameter mapping for applications in data mining and bio feedback

MCT4046 Sonification and Sound Design Seminar Series – Spring 2019
Speaker: Thomas Hermann

Facilitator: Shreejay Shrestha
Video production: MCT students 2018-2020
Video recording: Shreejay Shrestha, Guy Sion
Audio recording: Jørgen Nygård Varpe
A/V editing & processing: Sepehr Haghighi
Design: Karolina Jawad
Music: Sepehr Haghighi
Technical support: Robin Støckert, Anders Tveit, Alexander Refsum Jensenius
Administration: Maj Vester Larsen
Consultant: Sigurd Saue
Seminar Series Curation: Anna Xambó
Recorded in NTNU Trondheim 2019


Norwegian composer Arne Nordheim, recommended by Øystein to listen for generative compositions and experimental music techniques.

Hardanger Bridge monitoring

Next step: contact NTNU engineers and ask for access to their data, pretty please?!

NTNU Case study: The Hardanger Bridge

The Hardanger Bridge is a 1380 meters long suspension bridge, located on the western coast of Norway. It is the longest suspension bridge in Norway, and the 10th longest in the world, which makes it an interesting case study.  Our research in the field of suspension bridges requires knowledge from several engineering fields; such as aerodynamics, signal processing, finite element analysis and control theory. 

Experimental surveys

A comprehensive measurement system is operating on the Hardanger Bridge to improve the current understanding of the dynamic behaviour of long-span suspension bridges and their interaction with wind. This includes sensors for measurement of both response and environmental excitation. The system is described in detail under Structural monitoring (Structural monitoring – The Hardanger Bridge).


Figure 2: Illustration of the front view of the Hardanger Bridge, showing accelerometer and anemometer positions. Illustration by NTNU/Heidi Kvåle.

The Hardanger Bridge monitoring project

The Hardanger Bridge, opened in 2013, is a 1380 m long suspension bridge crossing the Hardanger fjord in western Norway. The main span is 1310 m long, which makes it the longest suspension bridge in Norway and the 10th longest in the world. The two concrete bridge towers are 200 m high, made using the slip forming technique, and supports the steel bridge casing and the cables that are anchored in the mountain side.

The main objective with the monitoring project is to study the dynamic behaviour of the suspension bridge; especially the wind-induced vibrations. All data generated from the extensive measuring system is directly used in research related to the ferry-free costal highway E39 project; both PhD and master theses. 

The monitoring system consists of the following sensors (illustrated in Figure 2):

  • 20 triaxial accelerometers
  • 9 anemometers

System identification and modal analysis

Based on recordings established by the monitoring system, parameters characterizing the system behaviour; typically represented by natural frequencies, damping ratios, and mode shapes; are estimated (system identification). The results are a highly valuable asset for these applications:

  • Studying the dynamic behaviour of the bridge
  • Updating the numerical model, such that it better describes the real behaviour of the bridge
  • Verification and possible improvement of the current state-of-the-art methods used for numerical modelling
Modal shape of the Hardanger Bridge. Model and animation by NTNU/Øyvind Wiig Petersen.

Load modelling and identification

Modelling of the wind-induced forces on suspension bridges is crucially important for accurate prediction of the dynamic response.

The modelling of the environmental wind loads hinges on the description of the spatial and temporal characteristics of the wind field. The wind data from the field measurements will be used to characterize the wind field. It is aimed to test the performance of load models and reveal the uncertainty involved in response prediction.

The models for motion-induced loads most commonly used in bridge aerodynamics are linear engineering approximations. It has been shown in several case studies that the models are working well when the response of the bridge is dominated by one vibration mode in each direction. Taking into account that the principle of superposition does not hold in fluid dynamics, it is unknown if the models will be able to predict reliable results for a more complex motion. Thus, there is a need to test the accuracy of the linear assumption introduced in the modelling of the self-excited forces. This challenging task does not only require development of new experimental setup but also identification techniques able to work with an arbitrary motion.


Postdocs and PhD candidates working with suspension bridges:



MuseNet – OpenAI Try MuseNet. We’re excited to see how musicians and non-musicians alike will use MuseNet to create new compositions! In simple mode (shown by default), you’ll hear random uncurated samples that we’ve pre-generated. Choose a composer or style, an optional start of a famous piece, and start


magenta studio

Magenta Studio – Standalone Continue. Continue uses the predictive power of recurrent neural networks (RNN) to generate notes that are likely to follow your drum beat or melody. Give it an input file and it can extend it by up to 32 measures. This can be helpful for adding variation to a drum beat or creating new material for a melodic

magenta neural synth

Making a Neural Synthesizer

magenta tutorial

Making music with magenta.js Step 1: Making sounds with your browser. Everything in @magenta/music is centered around NoteSequences. This is an abstract representation of a series of notes, each with different pitches, instruments and strike velocities, much like MIDI. For example, this is a NoteSequence that represents “Twinkle Twinkle Little Star”. Try changing the pitches to see how the sound changes!

Dan Jeffries The musician in the machine

The Musician in the Machine In this article, we’ll look at how we did it. Along the way we’ll listen to some more samples we really loved. Of course, some samples came out great, while some didn’t work as well as we hoped, but overall the project worked

getting started with magenta

Getting Started – Magenta Getting started. Ready to play with Magenta? This page will help you get started making music and art with machine learning, and give you some resources if you want to explore on your own!

magenta long form generative compositions with transformer

Music Transformer: Generating Music with Long-Term Structure Update (9/16/19): Play with Music Transformer in an interactive colab! Generating long pieces of music is a challenging problem, as music contains structure at multiple timescales, from milisecond timings to motifs to phrases to repetition of entire


openai Jukebox tutorials

for non-engineers

A simple OpenAI Jukebox tutorial for non-engineers II. Overview and limitations . OpenAI uses a supercomputer to train their models and maybe to generate the songs too, and well, unless you also have a supercomputer or at least a very sweet GPU setup, your creativity will be a bit limited.. When I started playing with Jukebox, I wanted to created 3-minute songs from scratch, which turned out to be more than Google Colab (even with the pro …


Show notebooks in Drive – Google ColaboratoryColab notebooks allow you to combine executable code and rich text in a single document, along with images, HTML, LaTeX and more. When you create your own Colab notebooks, they are stored in your Google Drive account. You can easily share your Colab notebooks with co-workers or friends, allowing them to comment on your notebooks or even edit

colab interacting with jukebox

Show notebooks in Drive – Google Colaboratory Please note: this next upsampling step will take several hours. At the free tier, Google CoLab lets you run for 12 hours. As the upsampling is completed, samples will appear in the Files tab (you can access this at the left of the CoLab), under “samples” (or whatever is currently)


MIMIC is a web platform for the artistic exploration of musical machine learning and machine listening. We have designed this collaborative platform as an interactive online coding environment, engineered to bring new technologies in AI and signal processing to artists, composers, musicians and performers all over the world.

The MIMIC platform has a built-in audio engine, machine learning and machine listening tools that makes it easy for creative coders to get started using these techniques in their own artistic projects. The platform also includes various examples of how to integrate external machine learning systems for sound, music and art making. These examples can be forked and further developed by the users of the platform.

Over the next three years, we aim to integrate brand new and developing creative systems into this platform so that they can be more easily used by musicians and artists in the creation of entirely new music, sound, and media, enabling people to understand and apply new computational techniques such as Machine Learning in their own creative work.

MIMIC or “Musically Intelligent Machines Interacting Creatively” is a three year AHRC-funded project, run by teams at Goldsmiths College, Durham University and the University of Sussex.

MIMIC Creative AI Platform MIMIC is a web platform for the artistic exploration of musical machine learning, machine listening and creative


Intelligent Instruments: a funded ERC project – Sonic Writing The European Research Council has awarded me an ERC Consolidator grant for the project Intelligent Instruments: Understanding 21st-Century AI Through Creative Music Technologies.The five-year, 2 million Euro research project will consist of a team of postdocs, doctoral researchers and an instrument designer from the fields of music, computer science and philosophy.


MUBERT© 2016 – 2020, Mubert Inc.
All music broadcasted on * domains is generated (created, composed, recorded) by Artificial Intelligence (algorightm, software, program) owned by Mubert® Inc and licensed by Mubert® Inc only for personal use. All rights are reserved. Public reproduction, recording, distribution of this music is prohibited.

How does it work?

Mubert’s unique algorithm creates and streams electronic generative music in real time, based on the samples from our extensive database. Every day new samples are added to the stream to support endless and seamless flow of one-of-a-kind work music.

About Mubert

Mubert is an AI music solution for any business, platform & use case. Mubert delivers worldwide copyright-protected AI-generated music via API. Infinite customization, cost-efficiency & legal compliance can help businesses fix key music industry pain points.
All music is royalty free & cleared for any cases both for personal & commercial usage.Pricing .01c per minute or $299 per month startups / $1,000 per month large business

To facilitate their ability to connect with audiences and make a positive global impact, Mubert is launching a new extension that allows users to play unlimited streams of AI-powered music in their shows without any risks of DMCA takedowns and other copyright issues.  

Subscribe with Music for Live Streams to feel your background on YouTube, Twitch, Facebook & 30 other popular services with Chill, Ambient, Trance, and other high-quality music curated by Mubert. music stations for live streams. Compatible with Youtube, Facebook, Twitch & other streaming services.
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Future learn machine learning
amper music compose

AI Composition with Real Instruments | Amper Music Amper’s music is created from scratch using millions of individual samples and thousands of purpose built instruments. You won’t find our proprietary samples anywhere

amper and ai music

Amper Music: ‘AI’s not going to replace your job – it’s going to change your job’Does this mean Amper is going to use part of that new funding round to build more tools for artists to create with AI? Silverstein is careful not to commit to anything in the near future, saying that as a small and growing company, Amper has to be “very judicious” in how it allocates resources for

how ai generated music is changing the way hits are made

How AI-generated music is changing the way hits are made Music-making AI software has advanced so far in the past few years that it’s no longer a frightening novelty; it’s a viable tool. For the second episode of The Future of Music, I went to LA to visit the offices of AI platform Amper Music and the home of Taryn Southern, a pop artist who is working with Amper and other AI platforms to co …

amper founder

How technology can democratize music From the printing press to the digital camera, innovation has often democratized the creative arts. In this forward-looking talk, music producer Drew Silverstein demos a new software that allows anyone to create professional-grade music without putting human musicians out of

amper faq
enterprise Ai

A.I. Songwriting Has Arrived. Don’t Panic Welcome to the next great debate about the legitimacy of

Ampios Future

A computer-generated soundtrack for your day

Amper about


How does licensing work for Score’s music?

Track licenses are available for purchase at a few different tiers based on the intended usage. All licenses (regardless of tier) are royalty-free, permit global distribution of content, and are valid in perpetuity.

  • Personal License — $29 (This tier is meant for your personal or educational project needs. The licensing does not cover ad spend or promotions. For example, a video made as a hobby.)
  • Enterprise Basic License — $74 (This tier is meant for internal or external professional projects and cannot be supported with an ad spend. For example, an internal training video that will be shared within your company only or public tutorial content for latest feature release.)
  • Branded Content License — $399 (This tier is meant for professional projects that will be posted on your own social channel or website and can be supported with an ad spend. For example, a YouTube video on your channel.)
  • Online Ad License — $1,199 (This tier is meant for professional projects that can be both used in ads and supported with an ad spend. For example, a video that will run as a YouTube pre-roll or Instagram ad.)
  • All Media/Multimedia — Request a quote (This tier includes a combination of the above plus additional licensing needs. Please contact us so that we can evaluate your use-case and provide a quote.)

What does Amper do?

Amper is an AI music company. We develop enterprise products to help people make music using our AI Composer technology. Today we offer two products—our music creation platform Score, and an API that allows companies to integrate our music composition capabilities into their own tools.
What is Score?

Score is a tool for content creators to quickly make music to accompany videos, podcasts, games, and other types of content using our AI Composer. Score is designed to significantly reduce the time it takes to source music and adapt it to fit a particular project.
Who is Score intended for?

Score was built for businesses who create a lot of content and are looking for ways to source high quality music more efficiently. Video editors, podcast producers, and video game designers can all benefit from Score’s capabilities.
How is Score different from stock music sites?

Each track Score outputs is composed by our AI in real-time and is always custom to your project. Collaborating with Score allows you to tailor a broad variety of your track’s musical attributes, including length, structure, genre, mood, instrumentation, and tempo.

Additionally, all the sounds you hear in Score are samples of real instruments recorded at Amper’s Los Angeles studio. Unlike stock music, which is often made using widely available sample “packs”, Score’s sounds are proprietary. This makes Amper’s music truly unique.


The Best Free Live Streaming Software on Windows and Mac | StreamlabsThe most popular streaming platform for Twitch, YouTube and Facebook. Cloud-based and used by 70% of Twitch. Grow with Streamlabs Open Broadcast Software (OBS), alerts, 1000+ overlays, analytics, chatbot, tipping, merch and

Music Ally is a knowledge company for the global music business

Music Ally Is A Knowledge Company NEW! Learn. Music Ally has launched a brand new Learning Hub for the music industry, with more than 30 modules of certified video content at launch, combined with relevant supporting materials from the rest of Music Ally’s information and



Hardanger – Monitoring – Research – Structural Dynamics – Department of Structural Engineering – NTNU The Hardanger Bridge, opened in 2013, is a 1380 m long suspension bridge crossing the Hardanger fjord in western Norway. The main span is 1310 m long, which makes it the longest suspension bridge in Norway and the 10th longest in the



Professor Ole Øiseth

Phone: +47 735 91 493


Railway bridges

Structural monitoring – Research – Structural Dynamics – Department of Structural Engineering – NTNU Extensive monitoring and measuring systems have been installed at different bridges and railways around Norway, with the main goal of generating data that can be used to develop the technology utilized for design of these

Structural Health Monitoring | HBMModular Solution for Efficient Structural Health Monitoring. All structures, whether bridges, wind energy plants, water, gas and oil pipelines, tunnels, oil rigs, pavements, rails, but also ships, planes, trains or others are subject to various internal and external factors which may cause wear or malfunction.This can happen, for example due to deterioration, an incorrect construction process …

Modular Solution for Efficient Structural Health Monitoring

All structures, whether bridges, wind energy plants, water, gas and oil pipelines, tunnels, oil rigs, pavements, rails, but also ships, planes, trains or others are subject to various internal and external factors which may cause wear or malfunction. This can happen, for example due to deterioration, an incorrect construction process, lack of quality control or an extreme situation resulting from an accident or environmental load. To be able to observe these changes in the material and to react in a proper way before serious damage is caused, the implementation of a damage identification system is crucial. The monitoring of structural behavior can detect anomalies in time, thus enabling maintenance and repair actions to be implemented more efficiently, with a direct impact on the reduction of operating costs. Replacing schedule-driven maintenance with condition-based maintenance is the main goal of infrastructure monitoring providing the following benefits.

Your local sales office:

+47 48 300 700

HBK Norway Great Belt Suspension Bridge, Denmark

Supply of FBG accelerometers for prediction of bridge cable vibrations

Gaining Real Insight into a Structure’s Health

Civil engineering structures are withstanding an exponential increase of applied loads, impacts and environmental burdens. The assessment of the resulting structural behavior is becoming mandatory so that faults can be detected in the early stages and safety is guaranteed.

Visual inspections do not give enough information to extend the structure’s lifetime, but by monitoring the structural health, any anomalies can be detected in time. This will optimize maintenance and reduce operating costs.

Monitor your entire structure’s life-cycle – from its design, construction, and operation to its rehabilitation or end-of-service life using HBM turnkey solutions for:

  • Material testing and load assessment
  • Strain and temperature distribution 
  • Convergences and vibration estimation
  • Displacements, deflections, and rotation measurements
  • Continuous monitoring 


  • Bridge design validation
  • Bridge load assessment
  • Bridge short-term monitoring during construction
  • Bridge long-term structural health monitoring

Mezcala Cable-Stayed Bridge, MexicoSupply of FBG accelerometers for structural monitoring systemTrans-Rhumel Cable-Stayed Bridge, Algeria

Supply of complete optical measurement system for SHM

The new continuing education course at , “Structural Health Monitoring (SHM)”, is very relevant for professionals who design large and complex bridges and buildings, or work with the detection of damage to various building structures. For example, bridges should be monitored at regular intervals to ensure the safety of the users and the environment. The bridges age and are often exposed to higher traffic, train and freight loads than they were originally designed for.

Emrah Erduran
  • Associate Professor
  • Pilestredet 35, 0166 Oslo
  • Office number: PE825
  • Office: +47 67 23 60 01
STRUCTURAL HEALTH MONITORING OF BRIDGES IN SWEDEN – RoctestFUNCTION AND RESULTS Using these new techniques in the field created a lot of problems, especially during the construction period. Serious malfunctions could jeopardise the function and quality of the system and were keenly reported in order to

Editorial: Structural Health Monitoring of Bridges

Neil A. Hoult and Branko Glisic


Published on 20 February 2020
Front. Built Environ. doi: 10.3389/fbuil.2020.00017

System Identification of Large-Scale Bridges Using Target-Tracking Digital Image Correlation

Luna Ngeljaratan and Mohamed A. Moustafa*

  • Department of Civil and Environmental Engineering, University of Nevada, Reno, NV, United States

Frontiers | System Identification of Large-Scale Bridges Using Target-Tracking Digital Image Correlation | Built EnvironmentThis paper characterizes the extensive research activities conducted in the Earthquake Engineering Laboratory of University of Nevada, Reno, in the field of dynamic monitoring and system identification of three 1/3-scale two-span bridges. The first part of the study briefly presents the verification of target-tracking Digital Image Correlation (DIC) results as compared to conventional sensors …

Quasi-Self-Powered Piezo-Floating-Gate Sensing Technology for Continuous Monitoring of Large-Scale Bridges

Kenji Aono1, Hassene Hasni2, Owen Pochettino3, Nizar Lajnef2 and Shantanu Chakrabartty3*

  • 1Department of Computer Science and Engineering, Washington University in St. Louis, St. Louis, MO, United States
  • 2Department of Civil and Environmental Engineering, Michigan State University, East Lansing, MI, United States
  • 3Department of Electrical and Systems Engineering, Washington University in St. Louis, St. Louis, MO, United States
Strategies of structural health monitoring for bridges based on cloud computingMarco Furinghetti1,2 · Alberto Pavese1 · Francesco Lunghi2 · Davide Silvestri2Received: 12 July 2019 / Accepted: 11 September 2019 / Published online: 20 September 2019 © Springer-Verlag GmbH Germany, part of Springer Nature 2019

Strategies of structural health monitoring for bridges based on cloud

The collapse of the Polcevera bridge in Italy represents a serious event which seems to be a direct result of cumulated local damages due to the aggressive environment of the construction site. Recently, evidence of corrosion of both ordinary and post-tension steel reinforcements were detected, in addition to concrete carbonation. Such phenomena generally lead to an increase in the deformation of all the elements of the bridge structure, which start to increase in time, leading to a progressive deterioration of the overall system. As a consequence, a proper structural monitoring layout would provide an extremely useful tool, for a correct plan of maintenance for all the elements of the considered infrastructure. In this work, strategies for the definition of structural health monitoring systems for bridges are discussed, from both software and hardware points of view. More specifically, a Cloud computing interface is considered, to make recorded data available for further analyses and post-processing procedures. The presented definition of the monitoring architecture could lead to the proper maintenance of all the structural elements, preventing the unexpected collapse of the structure.

Structural Vibration Solutions

Structural Health Monitoring – Do you need to test the integrity of a structure over time?

The company was founded March 1, 1999 as a spin-off from Aalborg University in Denmark. Our patented software is today used e.g. by mechanical engineers for modal analysis of operating machinery and components, and by civil engineers for ambient vibration analysis of large structures like bridges and buildings.

Phone: +45 9635 4422

Fax: +45 9635 4575



Support: support@svibs.comARTeMIS Modal on YouTube
How To Use ARTeMIS Modal

Structural Vibration Solutions A/S is located at NOVI Science Park, which is one of northern Europe’s most respected science parks. The location plays an important role as NOVI Science Park secures the close relations between the company and the research from Aalborg University.

  • NOVI Science Park
  • Niels Jernes vej 10
  • DK – 9220 Aalborg East
  • Denmark

  • Rua Miguel Russel, 10-5º Esq.
  • Quinta do Marialva
  • 2855-120 Corroios
  • Portugal
About – Structural Vibration Solutions The company was founded March 1, 1999 as a spin-off from Aalborg University in Denmark. Our patented software is today used e.g. by mechanical engineers for modal analysis of operating machinery and components, and by civil engineers for ambient vibration analysis of large structures like bridges and

Structural Monitoring Solutions

Structural Health Monitoring Systems (SHM)

Most companies rest on their technology laurels. Not SMS, as we partner with the best universities, engineering firms, the most progressive DOTs and other proven manufacturing leaders in the field of asset management. As a bridge owner, you get answers to your problems, not data. By using fiber optics, you need fewer power drops, less installation labor, and maintenance. This technology is ruggedized so you’re not procuring a replacement system in several years. You can trust us as we have 30 years of equipment manufacturing, SHM project management, data analysis, and expertise allow owners access to all the luxuries of SHM, at a cost-effective price.

Head Office

412 Sergeant Rd.

Lambertville, NJ 08530

Tel: 609-433-8485

Cable Stays | Structural Health MonitoringLaser Focused Cable Stays are difficult to inspect in critical areas. Acoustic monitoring provides a 100% volumetric 24/7 inspection. Many DOTs have adopted monitoring and others are actively planning an

HOME | SMS SHMStructural Health Monitoring (SHM) Most companies rest on their technology laurels. Not SMS, as we partner with the best universities, engineering firms, the most progressive DOTs and other proven manufacturing leaders in the field of asset

Genoa Bridge in Italy

For the Ponte Morandi bridge, Acoustic Monitoring would have given warning of the bridge collapse as the Associated Press stated that Italian engineers knew of problems with the Genoa Bridge since 1979.  

Italy bridge designer warned in 1979 of risk of corrosion

Email us for our White Paper or Webinar on Suspension Cable Monitoring.

Structural Health Monitoring for Bridge Structures

Structural Health Monitoring for Bridge Structures | FPrimeC Solutions Inc.In this article, we will briefly review the fundamentals of structural health monitoring for bridge structures.Bridges and transportation infrastructure are subjected to extreme environmental loading conditions, such as snow, rain, storm, and extreme

Contact Information




Tel: +1-647-933-6633 (HQ)

We protect constructed facilities by innovative nondestructive testing solutions and advanced engineering.

300 – 2 Simcoe St. S.
Oshawa – Ontario

Sensors for Structural Health Monitoring | FPrimeC Solutions Inc.With recent advancements in Sensor technology, Structural Health Monitoring (SHM) systems have been developed and implemented in various civil structures such as bridges, buildings, tunnels, power plants, and dams. Many advanced types of sensors, from wired to wireless sensors, have been developed to continuously monitor structural condition through real-time data

MISTRAS Structural Monitoring


MISTRAS offers a complete and fully integrated structural monitoring service from design to data analysis. Our structural and process engineers are able to assess customers technical needs and propose a range of monitoring options from a wide range of systems and sensors. Using the latest open source software integrated into MISTRAS systems we are able to collect, analyse, manage and present findings of monitoring accurately and concisely. This provides our customers valuable information to allow effective asset management. We work opening and honestly to provide reliable, accurate and best value.

Structural Monitoring of Bridges and Structures- Mistras Group MISTRAS offers a comprehensive range of monitoring, inspection and site services for bridges and structures in a wide variety of industries. We work with customers providing one-source solutions, for structures from their initial construction to management towards the latter part of service

UK Mistras Group

Address:Norman Way, Over, Cambridge CB24 5QE

Tel:+44 (0) 1954 231612


MISTRAS offers a comprehensive range of monitoring, inspection and site services for bridges and structures in a wide variety of industries. We work with customers providing one-source solutions, for structures from their initial construction to management towards the latter part of service life. From basic inspection and traditional NDT, to cutting-edge advanced NDT and long-term structural health monitoring, we have a wide range of tools to utilise. Our unique mix of degree-educated and chartered civil & structural engineers, experienced bridge inspectors,  NDT experts (PCN, ASNT Level 2 and 3) and specialists monitoring division combine into comprehensive team that provide the highest standard inspection solution that you need.

We provide accurate comprehensive information and knowledge about structural condition, material properties, defects, and integrity that assists effective asset management, whole life costing and safety. MISTRAS has extensive expertise in the assessment of materials including steel, concrete, cables, composites and damage such as corrosion, cracking, scour and wire break. In addition our pool of site operatives can offer skills and capability to you, such as rope access services, slinger/banksman, confined space workers, confined space rescue teams and managers, first aiders/medics, concrete repair, small scale civils, installation of site telecoms and site network

MISTRAS has extensive experience in the application of wire break monitoring to:

  • Suspension bridges
  • Cable stay bridges
  • Post tension beams, slabs and box girders
  • Flexible risers

We provide a full design service, experienced installation teams, including IRATA, confined space, offshore certified. Once installed, we provide full remote system management, reporting, long-term support and maintenance. MISTRAS offer a completely open service and can demystify the technology and process. We can show clients our full design process, example wire breaks and our analysis procedures to provide full reassurance in the technology and service we provide.

Golden Gate Bridge Accelerometer Data

Accelerometer Data collected by Android’s Physics Toolbox Suite on 12 May 2018

Golden Gate Bridge Accelerometer Data Accelerometer Data collected by Android’s Physics Toolbox Suite on 12 May


I got the chance to walk across the Golden Gate Bridge in San Francisco, CA for the first time in 22 years on May 12, 2018. There have been a great many technological advancements since then, as now we are all walking around with powerful computers and sensors in our pockets. I decided it would be fun to measure the bridge and provide others the opportunity to analyze data as to its motion for a brief snippet of time.


This is one minute of data from the “Linear Accelerometer” of the Physics Toolbox Suite v1.8.6 for Android. The data was collected from a Pixel 2 phone on the east side of the Golden Gate Bridge at the midpoint between the two towers of the bridge at approximately 3:20 PM local time on May 12, 2018.


This dataset is hereby owned by the community under the terms of a very lenient license in the condition that I have published it shortly after recording it.

Golden Gate Bridge G-Force Data

G-Force Data collected by Android’s Physics Toolbox Suite on 12 May 2018

Golden Gate Bridge G-Force DataG-Force Data collected by Android’s Physics Toolbox Suite on 12 May 2018


I got the chance to walk across the Golden Gate Bridge in San Francisco, CA for the first time in 22 years on May 12, 2018. There have been a great many technological advancements since then, as now we are all walking around with powerful computers and sensors in our pockets. I decided it would be fun to measure the bridge and provide others the opportunity to analyze data as to its motion for a brief snippet of time.


This is one minute of data from the “g-force Meter” of the Physics Toolbox Suite v1.8.6 for Android. The data was collected from a Pixel 2 phone on the east side of the Golden Gate Bridge at the midpoint between the two towers of the bridge at approximately 3:15 PM local time on May 12, 2018.


This dataset is hereby owned by the community under the terms of a very lenient license in the condition that I have published it shortly after recording it.


Maybe this will inspire people to install sensors on the bridge, and other bridges, to monitor for things such as traffic (such as to find an optimum speed limit), dangerous fatigue, or dangerous wind conditions. At the very least, one could use this in comparison with a baseline stable motion to see how the bridge shakes. One could study effects of vehicles traversing the bridge (not that there’s any visual data for when that happened relative to this dataset, but I do believe at least one big bus drove by my device during this recording). One could study if there are periodic vibrations, and if so, at what frequencies. This would be even more interesting if correlated with wind data and run compared to several different wind speeds.


New York City – East River Bicycle Crossings | Kaggle Context. The New York City Department of Transportation collects daily data about the number of bicycles going over bridges in New York City. This data is used to measure bike utilization as a part of transportation


The New York City Department of Transportation collects daily data about the number of bicycles going over bridges in New York City. This data is used to measure bike utilization as a part of transportation planning. This dataset is a daily record of the number of bicycles crossing into or out of Manhattan via one of the East River bridges (that is, excluding Bronx thruways and the non-bikeable Hudson River tunnels) for a stretch of 9 months.


A count of the number of bicycles on each of the bridges in question is provided on a day-by-day basis, along with information on maximum and minimum temperature and precipitation.


This data is published in an Excel format by the City of New York (here). It has been processed into a CSV file for use on Kaggle.


  • In this dataset, how many bicycles cross into and out of Manhattan per day?
  • How strongly do weather conditions affect bike volumes?
  • What is the top bridge in terms of bike load?



State of New York | Open Data | State of New York Browse, download, and analyze COVID-19-related data from the New York State Department of Health. The data will be updated on a daily

Brooklyn Bridge Datasets

Hourly Traffic on Metropolitan Transportation Authority (MTA) Bridges and Tunnels: Beginning 2010

Transportation View Data This dataset provides data showing the number of vehicles (including cars, buses, trucks and motorcycles) that pass through each of the bridges and tunnels operated by the MTA each hour of the day. The data is updated weekly.API

Hourly Traffic on Metropolitan Transportation Authority (MTA) Bridges and Tunnels: Beginning 2010 | State of New York – State of New York | Open Data | State of New York DATA.NY.GOV.

Daily Traffic on Metropolitan Transportation Authority (MTA) Bridges and Tunnels: Beginning 2010

View based on Hourly Traffic on Metropolitan Transportation Authority (MTA) Bridges and Tunnels: Beginning 2010Transportation View Data This dataset provides data showing the number of vehicles (including cars, buses, trucks and motorcycles) that pass through each of the bridges and tunnels operated by the MTA each hour of the day. The data is updated weekly.API

Brooklyn Bridge Automated Pedestrian Counts Demonstration Project

Transportation View Data DOT is testing automated technology to count pedestrians. The counter is located on the Manhattan approach of the Brooklyn Bridge.
Columns in this Dataset

Column NameDescriptionType
hour_beginningDate and time of hourly countDate & Time
locationName of site where count was obtainedPlain Text
PedestriansTotal count (sum of directions)Number
Towards ManhattanPedestrians crossing towards ManhattanNumber
Towards BrooklynPedestrian crossing towards BrooklynNumber
weather_summaryOverall daily weather (cloudy, clear, rain, etc.)Plain Text
temperatureHourly temperature, in Fahrenheit degreesNumber


Pittsburgh Bridges on Kaggle


Socrata Open Data Transparency Information

Corporate Headquarters
5101 Tennyson Parkway
Plano, Texas 75024

Pittsburgh’s Commitment to Transparency – tylertech As with most cities, Pittsburgh is swimming in data. And while having this large quantity of details, databases, and stats can be advantageous, it can also overwhelm, especially if the data isn’t readily accessible. Data might be stashed in binders, files, or siloed on an employee’s desktop. However, by implementing a modern approach to its data management and analysis systems …

NY Dept of Transport Bridge Conditions

Explore Open Data from New York State


New York State inspectors assess all of the bridges every two years including a bridge’s individual parts. Bridges are analyzed for their capacity to carry vehicular loads. Inspectors are required to evaluate, assign a condition score, and document the condition of up to 47 structural elements, including rating 25 components of each span of a bridge, in addition to general components common to all bridges. The NYSDOT condition rating scale ranges from 1 to 7, with 7 being in new condition and a rating of 5 or greater considered as good condition. Bridges that cannot safely carry heavy vehicles, such as some tractor trailers, are posted with weight limits. Based upon inspection and load capacity analysis, any bridge deemed unsafe gets closed.


This is a dataset hosted by the State of New York. The state has an open data platform found here and they update their information according the amount of data that is brought in. Explore New York State using Kaggle and all of the data sources available through the State of New York organization page!

  • Update Frequency: This dataset is updated annually.


This dataset is maintained using Socrata’s API and Kaggle’s API. Socrata has assisted countless organizations with hosting their open data and has been an integral part of the process of bringing more data to the public.

Cover photo by Ben Dumond on Unsplash
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Seattle Spokane St Bridge Counter

From City of Seattle Open Data

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