The installation relies on the intersection of sound and architecture and continues Ikeda's interest in phenomena - be they light, tone or sound - and how they materialise and manifest themselves in the world. The piece is built as a narrow, ceiling-covered corridor, allowing only one visitor to enter at a time. In the corridor space, red laser lights mark out the architectural construction of the otherwise darkened space and divide it into sections. Along the length of the space, speakers and strobe lights are mounted in the ceiling. The flashing strobe lights and high frequency sounds are synchronised and continuously change the experience of the space.
Aiming at purity and simplicity in the sound, Ikeda deploys high frequency sine waves, only to subject them to his exploration of how pure tone and sound are distorted by the resonance and reflective qualities of a given architectural setting and the presence and movement of the public. Visitors can hardly recognise the dimensions of the space, which is almost invisible due to its intense darkness/brightness and inaudible due to its ultra-frequencies. However, as they pass through the corridor, subtle oscillation patterns occur around their ears, caused by their own movements interfering with the sounds. The sound itself may be subtle and minimal, but the experience of the sound in the installation is active and dynamic. It is only through the public's physical engagement in the sound space that the real character of the work can be perceived.
Exhibited alongside data.spectra in the exhibition White Noise.
18 Aug– 23 Oct 05 | White Noise | Australian Centre for the Moving Image, Melbourne, AU
Produced by Forma
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