Figure x: Diagram for spatial structure and device setup

Reflexo´s spatial strategy developed around the idea of using within the bandstand two very contrasting spaces: the enclosed, interior underground room (where the concert took place) and the wide open top floor opened to the square (where the installation remained).

In this public area six metal tubes were hung from the ceiling, positioned as a replica of the geometric footprint of the bandstand. The six columns holding the rooftop had now parented geometric objects on the inside.

In the basement the stereo system was placed facing an area where the audience could sit and listen to the concert periods.

Photos by Mariana Ldl

Figure x: Temporal macrostructure

The concert was divided in two cycles which included a 20´performance period and a 30´ installation period. Each new performance initiated with the previous sonic content of the installation, transforming it along the improvisation.

In this iteration the processes used were only the Pan Delay variation (fragmentation), Direct resonance in external objects and Additive drone (dispersion). The Pan delay was diffused only in the stereo system in the underground room and the direct cello plus the additive drone (i.e. frieze pedal) was diffused in the stereo system as well as in the suspended tubes (external resonant objects).

Audio 1: Cycle I (concert)

00:00 – starts playing
01:35 – Starts additive drone process + improvisation with direct cello.
08:35 – Stop additive drone. Initiates Pan delay process.
11:33 – Pan delay + Short periods of additive drone.
12:40 – Additive drone
19:00 – suspension of concert action. Calibration of sound automation.
21:00 – Installation period (30 minute duration)

Audio 2: Cycle II (concert)

Audio 3: Cycle III (concert)

Video: Installation period