sound:
During daytime, each pole emits a sound, a note that is part of a predetermined harmony. These harmonies change over time. The three to five notes constituting one of these harmonies are randomly distributed over the field of poles. Their rapid change in position and quantity results in spatial sound effects and notes taking dominance above others, causing interference and beat tones, in between the other sounds. The transition from one sound to another is done by glissando, adding further disturbance to the sound field. The very low sounds are amplified by the resonance of the poles, depending on their length, and the sum of the 397 speakers, creating a space with blurred boundaries, offering ’isolation‘ in a noisy environment.

light:
At night, the poles light up white or red. Geometric and random illumination patterns succeed each other. The device’s capacity for the dimming of lights, allows light to change in a very soft or very rough manner, creating afterglow effects and disturbances in the spectator’s vision. Sound and light create an immaterial space while offering a physical and immersive experience. This relation between the immaterial and physical is further formalised by the poles which give the impression of a solid, but is paradoxically penetrable. Rather than being a literal representation of symbolic interpretation, the memorial is a ‘particular’ spatial experience shaped by visual and sound perception, an open field of interpretations.