Based on the fundamental notion that all physical bodies vibrate, Microcosmos was conceived as what the artist calls a vibrational sculpture; a piece in which energy is used to excite an object, in this case a cymbal, in order to poetically explore its vibrational modes, the natural and characteristic patterns in which an object vibrates, its fundamental physical properties. A cymbal is excited to amplify, sonically and visually, its intrinsic resonance modes, making them perceivable, revealing a hidden Microcosmos of vibration which becomes the material of an eight-minute loop composition.
At the beginning of the piece, the cymbal vibrates in a quiet resonance mode, displaying a fournode pure wave around its contour. As the piece unfolds, it evolves through different levels ofexcitation, allowing the cymbal’s harmonic richness to be heard and seen, evoking a choreography.
Behind the sculpture, the shade of the vibrating cymbal is seen on a two dimensional luminous circle. This bidimensional plain completes and reinforces the multidimensional nature of the work: A musical piece, taking form of a sculpture, is reflected in a bidimensional plane, encompassing the temporal, the visual and the spacial. Microcosmos reflects the composer’s use of her practice to penetrate and explore nature, specially it’s intangible aspects, hoping to better understand how nature’s traits and behaviors are linked to the very existence and development of music and poetic expression.