C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Zapała, Rafał: SENSORIUM 



Basic information

  • Title: 
  • Composer: 
  • Duration (in minutes): 
  • Year of composition: 
  • First performance (year): 
  • First performance (venue): 
    clock tower of CK Zamek in Poznań, Poland
  • First performance (performers): 


  • Program notes: 

    Proposal of the sound installation SENSORIUM for the ISCM World Music Days MTMW:
    – trailer of the first, monumental version of the work (Castle’s Clock Tower, Poznan, Poland):
    – documentation from chamber version at Linux Audio Conference (CCRMA, Stanford
    Musical layer of the installation is always created specifically for the new space. As an
    example – the Linux Audio Conference, (CCRMA, Stanford University) was based
    on decomposed flute and live electronics piece (mp3 file attached:
    LAC_CCRMA_Audio laye.mp3).

    SENSORIUM is one-person visited (20min), acousmatic, interactive sound installation
    The work essentially consists in transposition of the structure and dynamics of Visitor’s
    psychophysical reactions upon musical structures in a direct “live” experience. It is done by
    means of biofeedback technology in the tradition of Alvin Lucier’s artworks, but wider – with
    several types of data: the pulse, electrical charge of the skin, or the brainwave frequency.
    For obvious reasons, composition must be structured rhizomatically, i.e. takes into
    account the possibility of musical parameters’ multi-directional change and mutual
    influence. Re-mapping of a digital data stream is natural in electronic music; my mission as a
    composer is to push boundaries of traditional music structuring and therefore facilitate nonlinear
    composing with the use of new technologies.
    My current conviction is that composer’s work consists not only organization of
    sounds. It is also an organisation of musical devices, their physical connections, as well as
    lines of code, ideas and performative gestures. Furthermore, it is also definite, physical data
    (acquired by means of scientific devices), such as EEG, biofeedback, eyeball movement,
    weather, stock exchange data, movement of human and non-human entities, etc. Though,
    musical composition driven from data is an actual idea of including scientific data as formal
    musical models. That would be a peculiar fusion of sonification process with contemporary
    art of composing. Thus, real-life processes observed in a scientific way either become a
    model for the composition’s formal structure, or a trigger in operating in the real time (e.g.
    in art&science interactive music installations like SENSORIUM). For this purpose I use a new,
    aforementioned renewed notion of "bar", which here becomes a portion (granule) of music
    matter, a sonic object, a timbral quantum. It is also a program (e.g. Max/MSP micro-patch),
    of which the structure of entire composition is woven. In the rhizomatic network of
    SENSORIUM, each “bar” reveals several continuation possibilities depending on the changing
    The first prototype of SENSORIUM was an effect of my traineeship at Stanford
    University’s CCRMA Institute in 2014. It was developed on 3D sound system studio in CCRMA
    Listening Room.
    The same year, as an outcome of another residency, I launched SENSORIUM, which ran for
    1,5 year. This took place in ZAMEK Culture Centre in Poznań, Poland, where I’ve adapted an
    empty, unused Castle’s Clock Tower. Visitors could sign for the session via an online platform In March 2019 the installation was presented at LINUX AUDIO
    Sensorium is still developed, ongoing process. Now, in the framework of VERTIGO
    STARS residency we work on the new, updated version, that will have the final presentation
    in the Centre Pompidou (Paris) in the middle of 2020. Special version – dedicated to
    J.C.Risset – will be also presented during CMMR conference in Marseille (14-18 Oct, 2019).

  • Technical specs: 

    To implement SENSORIUM (chamber version), a room with a possibility for adaptation for
    sound system will be needed (min. 6 audio channels).
    All custom software and all the other electronic equipment (EEG sensors) are provided by
    A video projector and screen are required at the place.




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