SONIC
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© Diego Surueta
What is it?
The Sonic Crystal Room is a new idea of theatre that works with unique and unprecedented acoustic principles. These principles are derived from Sonic Crystals, a meta-material formed by a grid of columns that allows the focusing, direction and amplification of the sound through solely through its geometric configuration. The Sonic Crystals let you build mirrors, lenses, and prisms that modify the acoustic sound perception of the space, creating illusions of displacement, acceleration and perspective apart from the conventional sound sources. |
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Just as the 20th Century made musical timbre a priority value in the construction process of a composition, displacing even in hierarchy the fixed orders of pitch & rhythm, the following years will arrive at an explanation of the importance of the acoustic dimension of space & the temporal notions derived from it’s utilisation in the artistic areas & scientific-technological linked disciplines."
Oscar Edelstein (1980)
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The room is integrated into a work Viaje a la Catedral de Santa Mónica de los Venados, forming a homogeneous whole. The performance incorporates the room like a new musical instrument, altering the properties of the acoustic space during the performance through changes in its architecture.
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Imagination & Memory
The Sonic Crystal Room and the composition are conceived as a re-run through different types of memory associated to the different spatial configurations of the sonic crystals. Here, just as human memory evokes and recreates without repeating itself, the echoes generated by the Sonic Crystals enable the altering of the usual relationship of the distance, height, timbre, and harmonic structure of sound. These memories generate a dialogue between the moments of the performance - when the public are inside the room - and the moments outside the performance, in which the public return to the room. The imagination, unable to reconstruct what happened when it was happening, occupies the place of memory by creating unusual acoustic images. Each hearing of the work is unique and the work never repeats itself. As a sound installation it functions equally when the musicians are or are not present. |
We have also sound-houses, where we practise and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter sounds, and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have; together with bells and rings that are dainty and sweet. We represent small sounds as great and deep; likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sound, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voice and notes of beasts and birds. We have certain helps which set to the ear do further hearing greatly. we have also divers strange and artificial echoes, reflecting the voice many times, and as it were tossing it: and some that give back the voice louder than it came; some shriller, and some deeper; yea, some rendering the voice differing in the letters or articulate sound from that they receive. We have also means to convey sounds in trunks and pipes, in strange lines and distances.
Francis Bacon, ‘New Atlantis. A Worke Unfinished' (1626)
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There is a long history of composers working in interdisciplinary contexts that border with architecture, art, theatre and dance. The search for new spaces for new music goes from the Venetian cathedral builders to Wagner, from Varèse to Lucier. Equally, in recent years, artists have taken up the idea of sound in space and begun experimenting with the borders of sound.
Archetypal works on the borders of music, art and sound perception: Katarzina Krakowiak Making the walls quake as if they were dilating with the secret knowledge of great powers (2012) Biennale di Venezia | Bill Fontana Harmonic Bridge (2006) TATE | Janet Cardiff The forty part Motet (rework of Spem in Alium, Thomas Tallis 1573) (2006) MOMA | Bruce Nauman Raw Materials (2004) TATE | Maryanne Amacher Music for Joined Rooms (1980-2000) Kunsthalle Krems , K. Basel, Tokushima Museum | Alvin Lucier I Am Sitting in a Room (1969) MOMA | Jean Tinguely Homage to New York (1960) MOMA
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Contacto
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Roque Sáenz Peña 352, Bernal
Buenos Aires, Argentina (B1876BXD) |
All rights reserved © Edelstein, Eguia & Clear Insight Productions
