El eco de una serie infinita

In a single string vibrates the ways to deal with art, which are disturbingly infinite, so as the wavelength of harmonics between two beings who are in love. It’s impossible to predict what is coming, more if science, design, technology, and music cohabit in order to make visible the behavior of the sound.

The artists Manuela Donoso (Santiago, 1982) and Luisa Pereira (Montevideo, 1983) found a basis on the work of the French mathematician and physicist Jules Lisaajous, who was able to bounce off in the 19th century a beam of light by means of mirrors assembled in tuning forks. The artists noticed the possibility to differentiate the visibility by raising a bridge between the vibrato of the sonorous phenomenon and its representation. They understood what Theodor W. Adorno said when he stated: “In the entrapment that music would breach, it is itself entangled as art, augmenting it through involvement in appearances.”

Somehow, the task of harmonic series is to break the bonds of invisibility by giving disturbing answers as if it’d change the perceptive polarity; instead of not seeing –or just listening –a specter appears before the eyes of the observer and it mutates according to its vibration.

It’s an exercise where the harmonics surround the public and due to that, they are not in the contemplative passivity of the artwork. Therefore, they become active participants of both the perception and tacit complicity. This enables the creation of a harmonious jargon with someone who takes the microphone and magically activates a whole system, which clearly shows what acoustics wants to unveil. It’s a subtle hallucination that increases the limits of dimensionality by moving the traditional and static for the dynamic. It’s a game of frequencies and harmonies where the human voice comes out from the jagged cave and turns into an artistic creation. This leads us to think of Maslow when he says: “I suppose it is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.”

However, the tool case goes further, when using the technical resource and at the same time follows a necessary process of search and learning. From the moment that the artists Manuela and Luisa were part of New York University’s interactive telecommunications program, they established a consistent work that deals with the implementation of software that reacts to sounds –this is developed in processing together with 2D and 3D printings. These are expressed by means of three wonderful sculptures made of photopolymer resin, where harmony is like an acoustic apparition that dilates, contracts, and expands, undulating even the space itself of the dual allocution. It’s a symptomatology where the analogous and digital meet up without supremacy, except for keeping a parallel dialogue. Without notice, a series of voices and helical shapes are unleashed. These reverberate, tremble, or stare the ones who look at them –unafraid people or maybe is upside down.

No matter if the sonorous phenomenon is infinite; is fed by new and more accessible roads so each perception can be particular as an arpeggio, that harmoniously combined can give a range of sensations where curiosity plays an important role.

The observer has room to think again how the vibrations of particles, when transforming into acoustic waves, end up in a curve that puts in evidence why this represents the final part of the exhibition. In other words, this is the fourth presentation of Anilla room (located in the Santiago Museum of Contemporary Art, Chile). It was also present in 2014 in the FILE festival (Brazil) and in the Bienal Kosice (Argentina).

This opens a necessary passage between disciplines that are complemented to create not from the exuberance of monumentality, but from the simplicity of the echo and form. This is almost like a poem or a haiku, turning guttural breathing into a code that begins in the most basic part: the sound. This ends up with the astonishment of symbolism that has intervention with reality and fiction, –in a plastic and essential illusionism –just like when seeing art as an aesthetic analogy with the capacity to reinterpret the noise until obtaining the form, likewise an ovule and a sperm that join together to bring life.

In this occasion, it’s like a simulation that is repeated persistently where the intention of both artists has to do with the stubbornness of petrifying the moment and to determine the sound by repeating that trance that goes from the echoic to the iconic memory. Here, they recognize in this the ambiguity of a language that is hard to understand, but thanks to the intuition of the designer Manuela Donoso, to the systems engineer and musician Luisa Pereira, and to the research in relation to the graphical system of parametric equations we can even state the principle of mass conservation. That principle, stated by Antoine Lavoisier during the 18th century, says: “Nothing is lost, nothing is created, everything is transformed.”

Trying a new arranging is hard because it puts you next to make mistakes; but that risk has a reward and here the result is demonstrated in a real way and far exceeded the expectations. At the same time, there’s an important interaction with the artwork and the visitor who passes by between the consonant and dissonant. Nevertheless, it’s more about the visitor who is exposed to an atmosphere of sonorous and optical sensations that somehow provokes a shaking in your references. In that place is reasonable to ask yourself how your pain cries, moans of pleasure, and that last imperceptible sigh would be represented there. Maybe you can also wonder about the sound of an impertinent shot or the last wail of a mermaid that might be part of a futuristic harmonic series, which tell about dissimilar and disturbingly amazing moments of our lives.



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