There is no center to the universe, but at the same time anything could become the center.
twentieth century was an age of mass production and mass consumerism. Our lives
depended upon the consumption of huge amounts of energy sources such as petroleum
as well as enormous amounts of other natural resources. However, it is said that
fossil fuel sources such as petroleum will play out after another hundred years
or so; meanwhile destruction of the natural environment around us continues, the
environmental crises deepens, and in many ways eats away at our existence. Upon
the threshold of the twenty-first century, one can only assume that we are facing
an inevitable change in our lifestyles and concept of values. This work consists
of roughly 450 motors which make music by ringing bells while light-emitting diodes
(LED) flash on and off in the darkness. The sound the viewer hears is only the
slight sound of the copper bells themselves with no electronic processing or amplification.
The luminescence of the LEDs is also something quite subtle. What this work offers
its audience is a chance to watch carefully and listen consciously. In our day-to-day
lives, we come in contact with so many "things" and pieces of information that
we may have gradually lost the inclination to actually watch and listen; to experience
our surroundings. We must learn again how to watch and listen, to recover the
will to experience our natural environment. With this work I would like to present
a new concept of values for the twenty-first century. With "Omnipresence" it is possible to make a variety of settings with an identical
mechanical composition. "Version 1" is set up so that the viewer is surrounded
by the bells and diodes. A small space is most appropriate for its exhibition.
This way, one is able to experience it in a more personal manner; however, the
number able to experience the work at one time is of course limited.
The purpose is to envelope oneself in sound and light that he/she may experience a feeling of inebriation and/or relaxation.
The bells and light-emanating diodes are placed at varying heights and locations surrounding the one experiencing them. The bells are made of copper and brass pipes, making sounds and producing music from the striking of a wooden ball driven by a computer-controlled motor. The lights flash on and off by motor in synchronization with the music.
The Use of Non-Digitalized Sound
All sounds in this work are produced by the striking of copper or brass pipes, making no use of synthesized electronic sounds. Amplifiers are also not utilized. Each bell has its own pitch and tone; however, by the continuous striking of the bells, the resonance of the bells with one another, various types of harmonics and rhythms are produced. Subtle sounds and acoustic effects which are impossible to reproduce through the digital data of computerized compact discs are experienced. Furthermore, the placing of hundreds of bells throughout the space causes one to experience a feeling of three-dimensional sound which could not be duplicated by the average audio system. As modern man is so accustomed to the mechanical sounds of computers, television, and compact discs, such "raw" sound may seem novel. Although not seen, electric wiring and a computer program play an important part in the work; however, the sounds which people hear will be naturally produced. In producing notes through copper and brass which could be produced more simply by using electronic equipment, a new sensation will be stimulated and the ability to detect naturally produced sounds (which is becoming dormant in modern man) re-awakened. The significance in producing this work purposely using raw materials stems from the concern that, in experiencing nothing but sounds and sights produced by television and compact discs, we may be limiting our sensations and sensitivity of sight and sound. Also, computers will more than likely continue to extend their role in our lives and in society, but within that reference it is my sentiment that it is better for computers to remain in the background of our lives and not be so evident in the foreground. This work can also be interpreted as symbolizing that ideal.
The Space of Sound
The Philosophy of a Multidimensional Cosmos