The work is composed by 1629 earphones embedded in a 180 cm diameter wooden parabolic antenna and 24 electronic boards that distribute sound from a mp3 player to each earphone.
The parabolic geometry allows for all the sound sources to coincide at a focal point one meter away from the structure’s center, which results in a noticeable increase in the general volume due to the addition of each earphone’s low decibel intensity. Another characteristic of this work is that the disposition of the earphones causes the sound to stop being individual and become public. This is due to the fact that the earphones are exposing their faces, or their speakers’ fronts, which are usually hidden inside of the ear.
This disposition of elements refers to a large speaker, a medium that reproduces sound; however, this is not a neutral medium, like the common home speaker. By the contrary, it does not pretend to fade its materiality into the context that surrounds it, for it is constructed by diverse visual elements loaded with social-cultural meanings. The installation’s possible interpretations are actualized depending on which sound track it is playing.
Regarding the soundtrack, it can be said that it is the main binding element within the context in which the work is located. That is to say, the work’s visual symbols meanings vary depending on which soundtrack is used in each place that the work is installed.
In the case of “Synthetic Volume”, first version of the work in Gallery Concreta, Chile,
The soundtrack was composed using abstract sounds designed especially to excite the room’s reflective walls and to displace the sound within the geometry of the space as a way to emphasize the volume’s intensity and its sculptural aspects. In this exhibition the exploration of the volume materiality as an aesthetic parameter of appreciation was privileged.