The main concept for this installation comes from the Greek concept of the ‘music of the spheres’ in which the orbits of all planets generate a tone and the simultaneous sounding of these tones generates a sort of divine harmony inaudible to humans.
This installation is not an attempt to reconstruct or in any way make that harmony audible. Instead, using the connection between the movements of planets and sounds it aims to provide us with an opportunity to contemplate our place in time and the direct movement of time.
The visual part of the installation is essentially a clock with astronomical dimensions and ranges from seconds to millennia. We always wait for the faster moving hand of a clock to make its turn and move the slower one waiting for something to happen: an event, an end of an event, etc. The larger the ‘hand’, the more grand is an event. I believe these things represent our everlasting anticipation of the future, an anticipation for events always more grand than the previous: a new year is more important than a new week, and a new millennium is more than another new year.
The sounding part of the installation is reminiscent of Russian church bell ringing, with its repetitive rhythmical patterns and its multitudes of inharmonicity and non-tempered sounds. The sounds build up and then return to a sole bell ringing. A contemplation of this process (singularity-multitude-singularity) is also something that makes us aware of our place in time.