Makom-Al-Makom_catalog-new

E7 Listen, watch, open up to the world Carmit Blumensohn A meeting between plummet and pendulum Plummets (2020) is a kinetic sound installation comprising twenty soundtracks and ten plummets hanging the length of the colonnade. Throughout history, the plummet (also called plumb bob) has been used as a reference line in construction. A plummet is essentially stationary; moreover, it is only possible to suspend one plummet from each point. The plummet, therefore, creates a single perspective, and hence, an inflexible and static perception of reality. In the present installation, the plummets keep moving, thus challenging the concept of one state/one truth, and offering a variety of possible positions. Whenever the work seems to be in chaos, the relations between the plummets change until they become perfectly synchronized. In creating the work, the artist was in a dialogue with the unique architecture of the Open University Gallery. The encounter with the gallery's colonnade had a strong architectural influence on him. The clear repetitive rhythms, the regularity, the straight parallel lines, and the time and space continuity all gave him a strong sense of truth emerging from the architecture. Sharabani chose to challenge this suggestive space and explore its limits, using the plummet installation's incessant movement between chaos and stability. The sound also spans a range of possibilities. Sharabani sampled part of a recorded conversation with Ullman from 2014, and reproduced the sample in each plummet's sound track. The movement of the plummets activates the sound, creating patterns that move from unintelligible random sounds, to the clearly resonating phrase "let the sensations speak." Computerized mini-motors that communicate with each other control the plummets' movement. The installation uses artificial intelligence in a process of machine learning, in which the system tests and teaches itself as the work evolves. Adi Sharabani, Ronen's brother and a tireless entrepreneur living in California, wrote the code that sets the work in motion. It took transatlantic cooperation to work on the project: The code was written in California and had to be frequently adjusted in the Tel Aviv studio to the installation and its computers. Cameras installed in the Tel Aviv studio enabled observation and control of the work in both Tel Aviv and California. After a long period of trials, the brothers understood that the precise synchronization of the plummets to the thousandth of a second was an enormous