The work is composed by 1629 earphones embedded in a 180 cm diameter wooden parabolic antenna and 24 electronic boards that distribute sound from a mp3 player to each earphone.
The parabolic geometry allows for all the sound sources to coincide at a focal point one meter away from the structure's center, which results in a noticeable increase in the general volume due to the addition of each earphone's low decibel intensity. Another characteristic of this work is that the disposition of the earphones causes the sound to stop being individual and become public. This is due to the fact that the earphones are exposing their faces, or their speakers' fronts, which are usually hidden inside of the ear.
This disposition of elements refers to a large speaker, a medium that reproduces sound; however, this is not a neutral medium, like the common home speaker. By the contrary, it does not pretend to fade its materiality into the context that surrounds it, for it is constructed by diverse visual elements loaded with social-cultural meanings. The installation's possible interpretations are actualized depending on which sound track it is playing.
Regarding the soundtrack, it can be said that it is the main binding element within the context in which the work is located. That is to say, the work's visual symbols meanings vary depending on which soundtrack is used in each place that the work is installed.
In the case of “Synthetic Volume”, first version of the work in Gallery Concreta, Chile,
The soundtrack was composed using abstract sounds designed especially to excite the room's reflective walls and to displace the sound within the geometry of the space as a way to emphasize the volume's intensity and its sculptural aspects. In this exhibition the exploration of the volume materiality as an aesthetic parameter of appreciation was privileged.
exhibited at Linda Gallery, at the 798 biennale, Beijing, China 2009
The work uses music from contemporary producers such as Timbaland and Alvanoto to work their modernity. The songs are played in a black Ipod Classic which headphone output is directly connected to a microphone that reproduce the sound. Everything is inverted and hanging from the ceiling.
The quality of the microphone as an object is inverted, it produce a musical deception. Since it’s a microphone it works in a deficient way projecting a dull sound, with a small frequency range, no bass and no higher tones, the work tunes in an specific austere color tone which is not intended to be low-fi but rather proposed as an specific aesthetic parameter of interest.
People deducing the figures I draw only using their audition.
I Usually choose people that I found in the place of the experience, this place needs to be in many ways
symbolically or acoustically interesting.
exhibited at Centro Cultural Matucana 100, Santiago Chile, 2009
Exhibited at Center for Art and Media, ZKM Karlsruhe, Sentral Istambul, Turkey, Germany and simultaneously at the Cultural Center Palacio La Moneda, Santiago de Chile. cybersyn.cl, Multinode-metagame.com, 2007
Fundamentally, the work consists of two interactive chairs (one in Chile and one in Germany). Both have the ability of communicating with each other through a basic compositional system made of visual and sound synthesis.
Additionally, the chairs do an automatic audiovisual register of the user to build a semantic map at multinode-metagame.com . Also, the user has the possibility to see and to get informed of the original system in which this work was inspired.
the original project was an enormous complex computer network driven by interactive chairs to improve and communicate the problems and economical issues of the chileans by means of an easy and universal language of graphics and shapes rather than
numbers. This system was created in the communist government of Salvador Allende in 1971. It was ready to be used in 1973 the
same year where the infamous militar coupe driven by Augusto Pinochet took place, Evidently the project was eliminated and the idea was erased.
in collaboration with the original developers Enrique Rivera and Catalina Ossa, 2007