Apparently due to some glitch posts sometimes 'disappear'. The spectral may or may not have something to do with this, we can never know, remaining forever uninformed. Perhaps glitches are in fact covert spectral occurrences, literally, non-trivially, that call for resurrection, a tear in the fabric of time. So, for the record, this post belongs to June 29, 2024.
Organ, 2024, Rafailia Tsiridou and Emiddio Vasquez. PVC pipes, steel, omnidirectional microphones, amplifier, full range speaker. Special thanks to Jean-Frédéric Gohy and Erwin De Muer for the technical support.
Collecting the undulating movements of the canal that come into contact with the structure, the Organ blends these tones with the soundscape of its environment through a feedback network of transmissions.
Composed of six amplified PVC pipes that allude to infrastructure pipelines through which information travels, microphones pick up sounds that are reproduced inside the pavilion. First, through a hidden speaker attached to a severed subsea cable coming out of the ceiling (AVRION PROIN EN NA DEIS, Alexandros Xenophontos, Endrosia) and then, through the speaker horns in the courtyard (Crossover Frequency Spectrum, Lower Levant Company).
Through these activities, the Organ starts behaving like an eavesdropping agent, turning sounds into potential data points of interest and the surrounding presence into something that can be harvested and gathered. The dynamic soundscape created, however, is never reproducible. There is no model that fits the aforementioned data points; in its contingency, the ongoing soundscape refutes the calculative logic of information technologies.
In this sonic encounter, presence turns into apparition. With the same intangibility of data and its ethereal quality, the pulsating air filling up the space and resonating with the ear also fits the structure like a glove as it plays music with its pruney fingers.
Photography:
01-03 & 05-07: Demetris Loutsios 2024
@d_loutsios 
