Through a simple auditory intervention, Revolving seeks to materially engage a process of sonic transformation by investigating the acoustic possibilities of a revolving door. With this intention in mind, the temporal shift between a set of four distinct tones is activated not by sensors or pre-composed rhythms, but instead relies solely on the bodily activation of the door's immediate, perceptible motion. The spinning of the door effectively transforms the static tone of each speaker into a repeating musical pattern, or, in the absence of passing bodies, the arrested motion rests on a tone (or two) and drones consistently both indoors and out. By combining the transportive quality of a musical phrase with the immediate physicality of an existing architectural mechansim, the worldly and the abstract may overlap, combine, and dissolve according to the embodied experience of the listener.
Exhibited at School of Art Institute of Chicago
112 S Michigan Ave, Chicago, IL