SOUND-LIGHT-HAPTIC-SPACE
The exhibition transformed the monumental architecture of Sala De La Muralla into an endless multimedia act and was a culmination point of TUNDRA's technological experiments with sound-light-haptic interactions.
It featured the newly commissioned installations LONO and ÉXÕ.
SOUND-LIGHT-HAPTIC-SPACE
TUNDRA's solo exhibition occupied the historic halls of Sala De La Muralla, a part of the Palace of Congresses of Navarra, celebrating Baluarte's 20th anniversary.
Sala De La Muralla (the WAll Hall)
Designed by Navarrese architect Patxi Mangado, the building is situated in the city center, next to the Citadel of Pamplona. The Wall Hall is built around the remains of one of the citadel's five bastions, making it a distinctive space in Baluarte due to the integration of the historic 16th-century wall. Covering over 1,000 m² and located underground, the Wall Hall has a height of 6.35 meters.
Designed by Navarrese architect Patxi Mangado, the building is situated in the city center, next to the Citadel of Pamplona. The Wall Hall is built around the remains of one of the citadel's five bastions, making it a distinctive space in Baluarte due to the integration of the historic 16th-century wall. Covering over 1,000 m² and located underground, the Wall Hall has a height of 6.35 meters.
Four installations represented TUNDRA's recent exploration into "multimedia synesthesia".
Synesthesia highlights the brain's extraordinary ability to blend multiple sensory modalities, resulting in unusual perceptions such as "hearing color" or "seeing sound".
Synesthesia highlights the brain's extraordinary ability to blend multiple sensory modalities, resulting in unusual perceptions such as "hearing color" or "seeing sound".
Each installation provides a different perspective on interpreting audio, visual, and tactile stimuli without set narratives, allowing visitors to engage in their own phenomenological sensory exploration.
The different sections of the exhibition, along with the transitions between installations were arranged like a polyphonic composition, where every element played its solo part—much like instruments in a chamber orchestra transforming the space into dynamic layered environment.
The exhibition sessions were structured to foster a conversation with the viewer and delve into deeper levels of perceptual phenomenon, ranging from meditative to synesthetic experiences that could emerge from the polyphonic combination of sound, light, and haptic sensations.
THE DAY WE LEFT FIELD
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Inspired by natural environment and its place in modern cities landscape. In "The Day We Left Field" Nature in its primary form, blades of grass, is the "leading character". As in a surrealist painting, the blades of grass rhythmically keep wavering upside down in a cocoon of sound and light forming a floating canvas. DWLF utilizes the vast possibilities of code to generate and shape the audiovisual play of digitised natural phenomena.
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Baluarte's Accessibility Initiative: Haptic Backpacks
As part of Baluarte's commitment to accessibility, we participated in a pioneering test of haptic backpacks. This technology allowed people with hearing loss, members of ASORNA (Asociación de Personas Sordas de Navarra) to experience installations through sound-tactile feedback.
As part of Baluarte's commitment to accessibility, we participated in a pioneering test of haptic backpacks. This technology allowed people with hearing loss, members of ASORNA (Asociación de Personas Sordas de Navarra) to experience installations through sound-tactile feedback.
ASORNA participants explored the installations using the backpacks, describing the experience as powerful and moving.
“Being deaf, I can't hear music, but feeling the different vibrations helped me connect with the exhibition in a more profound way. It was truly exciting.” - Katerin Yuniet.
"I never imagined I could experience something like this through vibration." - Jorge Castro.
This test demonstrated the emotional impact of feeling sound and the potential of haptic technology to make new media art more inclusive.
“Being deaf, I can't hear music, but feeling the different vibrations helped me connect with the exhibition in a more profound way. It was truly exciting.” - Katerin Yuniet.
"I never imagined I could experience something like this through vibration." - Jorge Castro.
This test demonstrated the emotional impact of feeling sound and the potential of haptic technology to make new media art more inclusive.
ROW
ROW is an audiovisual installation composed of ten "holographic" displays aligned in a row, creating a layered three-dimensional image that visually displays sound variations.
The title "ROW" references the linear arrangement and a foundational method of structuring data, spanning domains from mathematics to musical scales. The installation continuously converts abstract data into a complex audiovisual language, creating constantly-morphing "holographic" sculpture.
The title "ROW" references the linear arrangement and a foundational method of structuring data, spanning domains from mathematics to musical scales. The installation continuously converts abstract data into a complex audiovisual language, creating constantly-morphing "holographic" sculpture.
The sonic component of ROW has been sourced from synthesizer oscillators, allowing us to "paint with sound" using visual feedback from the oscilloscope and Lissajous curves.
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LONO
The LONO installation employs a custom-made vibroacoustic throne and specialized tactile transducers to transmit a mix of subharmonic frequencies directly to the body, allowing one to resonate and synchronize with various sound-color-haptic patterns displayed in a virtual reality headset. The VR headset assists in dissociating from the external environment and dissolving sensory perception within the LONO multisensory narrative.
LONO enables the interconnection of sound, visuals, and haptics and evokes a primordial state when perception was unified and primarily driven by vibration.
The term "LONO" used in various cultures, describes a nurturing, caring environment, signifying fertility and peace.
A set of tactile transducers transmits low-frequency vibrations, below the threshold of human hearing directly to custom made vibroacoustic chair acting as body resonator.
HAPTIC TRANSDUCERS
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ÉXÕ
ÉXÕ triptych features three custom mirrored totems. Within each, a dynamic "holographic" display is paired with a set of mirrors, creating a continuous flow of moving reflections. This design produces an "infinity" illusion, where the generative visuals and sound seem to stretch endlessly into the distance.
While each of the three displays primarily operates on its own audiovisual sequence, there are moments when they come together in unison, much like a polyphonic trio where three distinct instruments occasionally harmonize.
While each of the three displays primarily operates on its own audiovisual sequence, there are moments when they come together in unison, much like a polyphonic trio where three distinct instruments occasionally harmonize.
Drawing its name from the Cyrillic 'эхо' ('echo') and ancient Greek 'ἔξω' ('exo,' meaning 'outside'),
it symbolises the perpetual cycle of cultural narrative repetitions that reach us through the echoes of generations, inevitably distorted and altered by time and space.
it symbolises the perpetual cycle of cultural narrative repetitions that reach us through the echoes of generations, inevitably distorted and altered by time and space.
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ÉXÕ - LONO - THE DAY WE LEFT FIELD - ROW
We extend our personal gratitude to the NICDO team, who made this project possible.
MADE BY:
NICDO Team (+20 team members involved)
Lead Production Team: Paula Noya, Laura Juampérez, Eduardo Nanclares, Mikel Martorell, María Rodríguez
Operations Department
Communications Department
Project direction and logistics: Natalia Khazova
Technical direction: Narek Bagratuni
Technical support: Landscapes, Oriol Pastor, David Florez, Juan Pablo
Other companies involved:
Telesonic | Global | Eulen | Carpintería | Aritzmendi | Froch | AENOR | Global | Omnium | ASORNA | Iddeassd
MADE BY:
NICDO Team (+20 team members involved)
Lead Production Team: Paula Noya, Laura Juampérez, Eduardo Nanclares, Mikel Martorell, María Rodríguez
Operations Department
Communications Department
Project direction and logistics: Natalia Khazova
Technical direction: Narek Bagratuni
Technical support: Landscapes, Oriol Pastor, David Florez, Juan Pablo
Other companies involved:
Telesonic | Global | Eulen | Carpintería | Aritzmendi | Froch | AENOR | Global | Omnium | ASORNA | Iddeassd
TUNDRA
Alexandr Sinitsa, Klim Sukhanov, Semyon Perevoshchikov.
Alexandr Sinitsa, Klim Sukhanov, Semyon Perevoshchikov.
BACKSTAGE
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