all is well

“All is well” is a playful reflection on the Myth of Sisyphus as seen by Albert Camus. It is an experiment with marble maze as the timeline for a composed instrument. In this work, lines of pipes channel through a 3 dimensional space, connecting acoustically amplified nodes, and presenting a solidified composition timeline that immerses the audience.

Channels Through Space

A large portion of human activity involves accumulating and reshaping spaces; international trades close distances between production and consumption sites, fences and borders create disproportionate distances between their either sides, and bridges allow taking a shorter route to cross a river. In other words through manipulation of matter in the environment, it takes less time for humans to move matter from one point to the other. In a way, all vehicles are also efforts to close distances, and reshape the space. What about instruments? How does an instrument facilitate moving from one sound to another?

Time On a Line

One can have a linear as well as a cyclical understanding of time through perceiving change and constance; the linear aspect of time exposes itself as one follows change in a phenomenon through differentiating; and one perceives repetition by detecting what remains constant, and recognises the duration between the recurrences.

Sound is a temporal phenomenon, and our experience of it cannot be outside the notion of time; yet one can have a grasp of a musical event without having to experience it for its entire duration, for example when a musician can “read” the piece by looking at a musical score. How does our understanding of geometry aid such notion?

all is well

Like a constant journey uphills
An eternal sequence
of rising and falling on loop
Defying the constant pull
of the grounds behind
Against the weight of things
that will role over you
on their way downhill,
should you let go half way.

Should you let go halfway,
or keep on pushing
until you reach
the top of
what kept you
pushing the whole way up?

where gravity surrenders
to the confined yet certain
horizontal line.
As you stand on it,
as the ground under your feet
stops slipping forward
things are set on their way back

You are aware
That this will be it forever.
And that’s exactly what
makes it all well
as you gaze upon things
rolling down.

As long as you get to
rest and observe
the fate of things
all is well.

as long as you are
the observer observe a story
that has a beginning, a middle and an end
unfolding its entirety
which is shorter that your life,
all is well

For a moment
you can forget
that endless loop
all the time

Testing material for a new piece: This time I am experimenting with the concept of timeline, and this is the very first line for time to pass.

Cardboard boxes can hold the line, but also amplify the sound of passing balls.

different times?

Time is considered a constant when structuring our day to day, or year to year matters; however the lived experience is different, since our perception of time changes under different circumstances. When listening to music we experience such variations. How can a geometric representation of sound shed light on the nuances in our perception of time?

Posted by erfan in this
the facility of the other

the facility of the other

The facility of the other is the title of an interactive sound installation that turns the act of listening into a collaboration, by exposing layers of its multi-layered composition based on the number of its listeners.

One can hear the composition by holding a metal bowl against sets of double springs that are stretched on stands throughout the exhibition space. The composition is transmitted through the metal springs in form of mechanical vibration and is amplified inside the bowl, and so one has to put one’s face inside the metal sphere to hear the piece. Moreover, as the metal bowl connects the two springs in each set, it triggers a corresponding layer of the composition to be added to the sound that is being heard throughout all springs.

By pushing one’s face inside a confined metal sphere, The Facility of The Other first detaches one from the other, then amplifies the presence of the other by revealing more of its content as others join. By linking a solitary action to a group experience, this work invites one to appreciate the act of perceiving that is done by the other.

This work is the latest outcome of a continuous experiment with matter in space as pathway for vibration to pass through. Other outcomes of this research have been presented under the titles points of contact, Vibro-panning and Vibroplasm.

In "Vibro-panning" the audience is invited to interact with the piece and navigate through a feedback landscape, while in "Vibroplasm" and "Points of Contact" a performer arranges and rearranges found and repurposed material to create a field for vibration to pass through, create feedback and translate into observable light movements in the space.


A previous iteration of this piece was titled "vibro-panning" and was presented at the Kruithuis in Den Bosch during November Music Festival 2015:

The facility of the other was originated from a curiosity about the observation of physical vibration as it passes through different objects. A first tryout for this idea was presented as "Vibroplasm 1.4" at Blikopener festival in Delft in 2014:


The installation consists of 8 stands holding double springs and fitted with transducers. Their lengths vary between 1 to 2 meters, and one central computer will be set up and covered at site with cables running to each spring set. Moreover, 8 metal bowls of 50 cm diameter will be available by each spring set for audience to hold while listening to the piece.

The spring sets will be positioned along the outer border of the exhibition area facing inwards, leaving one entry. Alternatively, if other works in the exhibition allow, the sets can be scattered throughout the whole exhibition space.
The sound content is a one-channel composition with 8 asynchronous layers, and is played through all 8 transducers that excite the double springs. Each layer has a gain control linked to a digital input received from the contact between one set of double springs.

required components provided by artist:

  • 8 sets of double springs on stands,
  • 1 laptop/microcontroller board
  • 30m of data cable and 30m of audio cable
  • 4 stereo amplifiers
  • 8 x transducers
  • 8 x metal bowls
  • Power extensions and power strips

required service provided by the venue:

Single on/off switch operator


Posted by erfan in installation, vibroplasm, works

احسنت به جمیع برندگان
حرف رئیس گوش کنندگان
چندی از شما ماندنی اند
باقی فراموش شوندگان

احسنت به فراموش کنندگان
رقیب خاموش کنندگان
هر کس در این مسابقه باخت
تکه گوشت برای درندگان

احسنت به جمیع درندگان
حرف به کرسی نشانندگان
دستآورد تل انبار کنید
دشمن خود خوارکنندگان

احسنت به برگزارکنندگان
اسلحه انبار کنندگان
پس ِمعرکه جای کلاه نیست
بلکه سر مجاب شوندگان

احسنت به مجاب کنندگان
حساب وکتاب کنندگان
گلیم هاتان بیرون کشید
سرها زیر آب کنندگان

تلقین تساوی و همدلی
ترفند فقیران و بزدلان
همین خود راز زندگی ست و بس
کننده ای و به گای روندگان

احسنت به جمیع کنندگان
مثبت اندیشان و سازندگان
همصحبت بدبینان نشوید
شما ارباب آنها بندگان

آفرین به شما دارندگان
گنده لاتان و تازندگان
هر چه اعتبار مال شما
و خدّام و یاران و بستگان

Posted by erfan in this