IMPROBABLE RESONANCE
installation/performance (2023)
For percussionist and objects descending, hanging down the very tall wall
in collaboration with Mikolaj Rytowski
installation/performance (2023)
For percussionist and objects descending, hanging down the very tall wall
in collaboration with Mikolaj Rytowski
High wall in the museum becomes an extended place of musician’s setup.
The wall becomes „musical canvas“ or acoustic membrane of the work where sonic events take place.
The percussionist has an acoustic setup on top of the wall, and in counterpoint with other events, he plays defined musical fragments. He is in charge of descending the speaker cones (with electronic sound), down the wall, as well as objects that produce the sound acoustically. On some of these objects he can play as well (thunder sheet, radio, bells, ping-pong balls).
There is a tape loop, spread throughout the length of the whole wall, and a single speaker on ladder that reproduces this sound.
Computer-controlled solenoids (Polyend), are placed on two percussion instruments - one at the lower part of the wall, another where the percussion setup is. This, upper, solenoid plays while the percussionist goes dow the stairs to switch on and off the tape machine.
There are 4 positions/routes where these (sound) objects are lifted down and the order of events in notated in the score.
Each of the objects (elements) is activated only in a certain scene, which makes the structure of the piece modular and ever-changing.
All sounds aim to get fully realised on the wall itself (at the middle of it), and this makes us think of the middle of the wall as a resonating box of an instrument.
As acoustically, such effect is not highly probable, the wide space of the museum creates a true resonance and melds all the sounds together.
The wall becomes „musical canvas“ or acoustic membrane of the work where sonic events take place.
The percussionist has an acoustic setup on top of the wall, and in counterpoint with other events, he plays defined musical fragments. He is in charge of descending the speaker cones (with electronic sound), down the wall, as well as objects that produce the sound acoustically. On some of these objects he can play as well (thunder sheet, radio, bells, ping-pong balls).
There is a tape loop, spread throughout the length of the whole wall, and a single speaker on ladder that reproduces this sound.
Computer-controlled solenoids (Polyend), are placed on two percussion instruments - one at the lower part of the wall, another where the percussion setup is. This, upper, solenoid plays while the percussionist goes dow the stairs to switch on and off the tape machine.
There are 4 positions/routes where these (sound) objects are lifted down and the order of events in notated in the score.
Each of the objects (elements) is activated only in a certain scene, which makes the structure of the piece modular and ever-changing.
All sounds aim to get fully realised on the wall itself (at the middle of it), and this makes us think of the middle of the wall as a resonating box of an instrument.
As acoustically, such effect is not highly probable, the wide space of the museum creates a true resonance and melds all the sounds together.
Installation/performance was part of
Manyness - A sound artwork for Shirley Jaffe
organized by
Simone Keller and Phillip Bartels
Premiered at
Manyness - A sound artwork for Shirley Jaffe
organized by
Simone Keller and Phillip Bartels
Premiered at
