Speaker
Description
Edgard Varèse described music as “organized sound.” and Iannis Xenakis, in collaboration with Le Corbusier, developed spatial systems in which sound, form, and movement are composed as a single environment. Building on this framework and lineage, Ninefold treats composition as an organizational system where architecture, music, and fabrication converge through relational interactions among frequencies, surfaces, and bodies. The installation constructs a spatial field in which sound and form operate as co-constitutive systems. A harmonic spectrum of nine interdependent overtones ranging 50–1800 Hz generates evolving combinatorial polyrhythmic textures that converge and disperse across space. Sourced from everyday waste, recycled plastic becomes the material substrate for the additive fabrication of nine acoustic mediators designed to hold and redirect sonic energy. Acoustic structure, geometric variation, and material behavior converge through distinct artifacts to produce an immersive harmonic field shaped by sonic gradients. Subtle shifts in geometry produce perceptible differences in acoustic response, establishing gradients (propagation, diffusion, reflection, and concentration) rather than boundaries. Different modules selectively bias the spectrum: elongated and tighter cavities amplify upper bands (800–1800 Hz), producing softer, while flared volumes and smoother interiors reinforce low–mid frequencies (50–400 Hz), yielding fuller, more resonant output. Intermediate ribbed geometries introduce localized reflections, accentuating midrange bands (400–800 Hz), generating an array of difference tones and subtle beats experienced through movement.Ninefold composes an environment where artifacts function as sonic and visual bodies. Listening becomes embodied and situated, unfolding as a temporal sequence of encounters shaped by position and proximity rather than fixed composition.