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The space in our use at the Göteborg Biennale for Contemporary
Art was a long, narrow, tall room. Like the other exhibition
spaces, it was darkened according to the specifications of
curator Carl Michel von Hausswolff to prevent daylight from
entering.
The room was muted acoustically by the use of black wall-to-wall
carpeting. On the floor stood three black aluminium water
basins, round in shape, and separated by equal distances according
to the darkened skylight windows on the ceiling. All of the
basins were connected to one another by a siphon tube in order
to keep the water level equal. The water was pumped from the
pools upwards to the ceiling, from where it dripped back down
into the individual basins. The pumping apparatus was equipped
with a timer, designed to ensure that the drops fell at maximally
equal intervals.
The sounds of the falling water drops plopping on the surface
of water were recorded with underwater microphones installed
in the individual basins. The sound yielded a constantly shifting
rhythm patterns and this sonic material was amplified and
played back by four speakers, one in every corner of the space.
The room was completely darkened and the only sources of
illumination were three dim incandescent lamps suspended above
the water basins. The light was reflected on the surfaces
of the water, casting circular luminous patterns on the ceiling
and the walls.
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