The Container
ongoing since 2022
Inside an old shipping container, very long metal strings are stretched between powerful magnets which cause them to vibrate perpetually and create various acoustic phenomena. The sound produced by the strings resonates with such force that it turns the container into a gigantic speaker radiating sound into the public space in which
it is located.The strings are vibrating since the doors of the container shut close in November 2022. The system is powered by solar panels allowing it to be independent. The cycles of nature, day and night, light and darkness, summer and winter, are not only metaphors but the amount of energy the system absorbs shape the behaviour of the strings and thus the sound they produce.The installation sets the conditions for the sound of the material itself to be awakened, allowing contemplation of the paradox, the unchanging change, the temporary attempt to grasp the infinite.
Music On Music On A Long Thin Wire
The score for the composition 'Music On A Long Thin Wire' by the late American composer Alvin Lucier contains technical instructions for building a system based on an extremely long metal wire and a powerful magnet. The result of implementing the actions outlined in the score is the physical manifestation of a hidden sonic phenomenon. Conditions are created that allow for a relationship between physical forces to generate incredible sound waves. Listening to the sound produced by the wires always involves merging with something that was already there, hidden from the ear. Within the complex textures of the sound, after a period required for consciousness to settle, it is possible to hear even small sound particles that are right on the threshold of the human auditory system's ability to perceive. These two opposing vectors, towards infinity and towards the fleeting, challenge the perception of one’s self.The encounter between the sound waves produced by the wire and a listener in space comprises a complex system of variables related to the precise location of the listener, the direction they are facing, the architecture and the reverberation of the space, all within the ever-changing process of the sound itself. This indeterminate structure, enables the listener to participate in the sound's design solely through the act of listening. The construction of the system is complex, requiring the development of mechanisms, the production of parts, and technical work in multiple fields simultaneously. The deep engagement with the world of the wire‘s sound has shaped the nature of the process to the point where the boundaries between the technical, artistic, and merely existing have blurred.
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