Organ, 2024
Rafailia Tsiridou, Emiddio VasquezPVC pipes, steel, omnidirectional microphones, amplifier, full range speaker
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, LLC).
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.
Special thanks to Jean-Frédéric Gohy and Erwin De Muer for the technical support.