Off to Eigg to set fish free...or dispose of

For installation see other blog
Eigg Stuff...going to look for singing sands
Singing sand, whistling sand or barking sand is sand that produces sounds of either high or low frequency under pressure. The sound emission is usually triggered by wind passing over dunes or by walking on the sand. The sound is generated by shear stress.
Certain conditions have to come together to create singing sand:
The sand grains have to be round and between 0.1 and 0.5 mm in diameter
The sand has to contain silica
The sand needs to be a certain humidity
The most common frequency emitted seems to be close to 450 Hz.
Importantly, there are still scientific controversies on the details of the singing sand mechanism (see references). It has been proposed that the sound frequency is controlled by the shear rate. Others have suggested that the frequency of vibration is related to the thickness of the dry surface layer of sand. The sound waves bounce back and forth between the surface of the dune and the surface of the moist layer creating a resonance that increases the sound's volume.
Other sounds that can be emitted by sand have been described as "roaring" or "booming".
The particular note produced by the dune, between 60 and 105 Hertz, is controlled by the rate of collision in the shear band separating the avalanche from the static part of the dune. For spontaneous avalanches, the frequency is controlled by gravity and by the size of the sand grains.

Didier n Fishy

Pierre Vivant, Traffic Light tree 1995-98, painted steel & lights

Funded and produced by the Public Art Commissions Agency. On roundabout just beyond the Canary Wharf estate there are three trees, two are London planes; the third is a traffic light tree; Pierre Vivant's eternal tree replaced another London plane as it was dying. The arbitrary cycle of light changes are not supposed to mimic the seasonal rhythm of nature, but the restlessness of Canary Wharf. Born in Paris in 1952 Pierre Vivant has been commuting between his Oxford and Paris Studios since 1973 producing and exhibiting work on both sides of the Channel.
Canary Wharf’s little sister, originally an eight-acre quay but now extended by a further three acres to connect with Canary Wharf at its eastern end. Narrower than the other quays of the West India Docks, it formerly separated the Export and South Docks and was mostly filled with offices and stores rather than warehouses. There was a herring shed on the quayside from around 1840, but never any trade in herons or with a place of that name. In an early chapter of Docklands redevelopment Tarmac Properties drew up plans in 1981 for a mixed-use scheme that would cover the whole Heron Quays site, but only the first two phases were completed. These were high-tech cabins with monopitch aluminium-clad roofs and colourful enamel panelling. Although generally well received, the buildings were not of the scale and grandeur of neighbouring developments. Despite proposals to build an apartment complex, the rest of the quay remained empty for more than a decade, mainly owing to uncertainty in the property market. In 2001 the Canary Wharf Group bought the site from Tarmac and began work on the HQ project, also known as Canary Wharf South. The scheme consists of five office blocks, of which the three tallest are around 500 feet high. Tenants include Morgan Stanley, Lehman Brothers and Clifford Chance. Heron Quays station has been rebuilt beneath the HQ2 podium, with an underground link to the Jubilee Line station via a new shopping centre called Jubilee Place. The neighbouring Jubilee Park has a moderately pleasing water feature, shown below. The result of all the redevelopment is that, on the ground, the quay is no longer visually distinguishable from the rest of the Canary Wharf complex

Have been using another blog...public art

Drive through the Heron Quays Roundabout in Canary Wharf and you’ll be able to catch a view of this traffic light mutation. This stoplight “tree” changes its many lights in a random order, no doubt much to the confusion of unprepared drivers.
Designed by artist Pierre Vivant in 1998, the changing patterns of the “Traffic Light Tree” were meant to reflect the “never ending rhythm of the surrounding domestic, financial and commercial activities.”