Muro (2019)
sound installation for tiles and transducers
This work was made with the support of Mexico’s National Fund for Culture and the Arts through its “Jóvenes Creadores” Grant 2018- 2019.
Muro expolores the resonant qualities of a set of six or more ceramic and porcelain tiles of different dimensions.
The tiles are suspended in space and have transducers attached to them, playing an audio signal specifically designed to induce the vibration of their resonant frequencies. These audio signals are made with band-pass filtered white noise whose center frequency increases progressively, resulting in a noisy glissando. Each tile’s material acts as a natural resonant filter for the noisy glissando, reacting only to the vibration of the specific resonant frequencies of each object. The response of each tile is recorded separately and played back through its body to amplify its resonance. The result is recorded as well and the process is repeated over and over again until a wide range of harmonics is revealed for every tile. Once this is achieved, the audio tracks are ready for the presentation of the piece and should be projected onto the corresponding tiles through independent channels. The time structure of the piece is programmed in SuperCollider and resembles an irregular canon of undetermined duration.
Muro expolores the resonant qualities of a set of six or more ceramic and porcelain tiles of different dimensions.
The tiles are suspended in space and have transducers attached to them, playing an audio signal specifically designed to induce the vibration of their resonant frequencies. These audio signals are made with band-pass filtered white noise whose center frequency increases progressively, resulting in a noisy glissando. Each tile’s material acts as a natural resonant filter for the noisy glissando, reacting only to the vibration of the specific resonant frequencies of each object. The response of each tile is recorded separately and played back through its body to amplify its resonance. The result is recorded as well and the process is repeated over and over again until a wide range of harmonics is revealed for every tile. Once this is achieved, the audio tracks are ready for the presentation of the piece and should be projected onto the corresponding tiles through independent channels. The time structure of the piece is programmed in SuperCollider and resembles an irregular canon of undetermined duration.
