Let’s begin with the end, the arrival point, the goal: like the Germans count the numbers: “sechsundvierzig”, “fünfzehn”, “achtundfünfzig”—the other way around.
There is a vinyl, a turntable and a round wood table, where both can be settled. The vinyl is gingerly placed in the non-centered turntable so that, when it turns, its balance vacillates between rights and lefts. Visualising the described image above and adding a blue light towards the round ensemble, a phenomenon of reflection creates a wave impression on the blank wall, while the machinery oscillates around points of the circle it runs.
To this scenario, the vinyl record reproduces in equal projection through eight loudspeakers, on a proportional time and parallel movement as the rotations per second from the turntable, from one loudspeaker to the next, in a circular form, the sound of the ebb and flow of waves, from a southeast Brazilian coast.
During the 3:54 minutes immersion, sounds of boats passing, playing Brazilian funk music and tuned bubbles compose the sound of the landscape.
When turned to the other side and as soon as the needle from the turntable starts to run over the groove where the sound information is stored, the vinyl reproduces the sound of the traveled path from the top of the mountain until the rock coast, reduced to a one minute walk, this time, slowly, from speaker to speaker.
This generous time change represents a desired abbreviation of time and space, between a start point and the goal—Brazil and Austria: where we like to think in relative time, approximating hearts and pulses and beats and…
Words by Luiza Schulz Vazquez