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In June 2009, further modifications were suggested by Konoike which resulted in a more parred-down version of the 'suite' originally submitted. Final changes were implemented in Tokyo in July in the lead-up to the final installation. In Tokyo, all stereo versions of the sounds were reconfigured into 4, 5 and 6-channel versions. The overall sequencing, timing and spatialization of the sounds was developed in the actual space, taking into account the tempo at which the baby's head rotates, and the overall scale and immersiveness of the space.
Concurrently, a speaker configuration for the space was determined. The first image indiactes the plan view of the space with the 10 speakers marked; the second image indicates the depth and height of the speakers in a 3-D simulation.
The speaker placement was crucial in allowing the 'breathing rhythms' of all the sounds to shift quite dramatically yet 'organically' throughout the space. Basically, at any one time there is about 3 to 4 sound components audible, and each of them occupies its own unique 4, 5 or 6-channel matrix within the 10-speaker spatialization. So while the overall feel of the piece is minimal in terms of orchestration and layering, the spatialization is quite active and relates directly to the giddying effect of the mirror beams continually circulating through the space.
Final suggestions made by Konoike upon hearing the sounds in the space involved inserting occasional pauses, silences and periods of emptiness. The subtle sounds of light rain and distant wind were also layered into the final mixage. At this point, 2 separate DVDs of Dolby Digital 5.1 sub-mixes were produced as indicated below:
A DVD-synchonizer then plays the dual DVDs to generate the 10-channel composition. The finalised running time of the looped composition is 14 minutes and 24 seconds.
Installation documentation from the Tokyo Opera City Art Gallery install.
Contents of this page © Philip Brophy. Images © Tomoko Konoike - courtesy of Mizuma Art Gallery, Tokyo