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ENTER 2022

Interactive light installation for “Unidentified Fluid Object” exhibition in Nxt Museum, Amsterdam, NL. Curated by Bogomir Doringer. 11/06/2022–03/09/2023

A digital mirror effect with a high frame rate camera and infrared motion capture, enlarging the viewer to billboard size and hereby visualising the uploading of our data while seduced by a hyper-self image.

Sound design: Arkadiusz Krupiński
Tech manager: Jakub Kirklewski

Note | Arek Krupiński on sound design | Specs

‘You can get lost in sweeping virtual worlds. I like to bring technology back into our physical world, using offline as a basis.’ – Ksawery Kirklewski

Technology is becoming more invisible. Screens and phones are thinner, and the cables that carry our data are buried out of sight. Ksawery Kirklewski’s ENTER brings to light a usually imperceptible process of data capturing that goes on while we upload selfies. Consisting of 80 12 meter LED strips that snake their way up to the ceiling, points of light along its length form a blown up picture of your image. A high speed camera (120fps), feeds back movement in real time creating a digital mirror effect. This pixel-esque version of you references the low resolution aesthetic of the 80s video games Kirklewski grew up with – a gamified quality that highlights our participation in the creation of new virtual worlds.

Accented by the live generated soundscape designed by Arkadiusz Krupiński, we get to meet our digital doppelgangers as our every move triggers new compositions. Together, the audiovisual spectacle comes to life like a grand digital instrument, played in part – by you.

Charmed by digital effects on our own image, like Greek Mythology’s Narcissus, who famously fell into a lake mirroring his own reflection – do you think we’ll become cyber organisms in love with ourselves? Or will we withstand technology’s mesmerising allure and manage to balance virtual and physical realities?

Text written by Julia-Beth Harris, in context of the exhibition UFO – Unidentified Fluid Other, curated by Bogomir Doringer, on view at Nxt Museum, Amsterdam.

Arek Krupiński on sound design:

My goal was to design the complementary sound for the light installation, in which a flat screen plays the role of an entrance to the metaverse and also a tool to explore it. The size of the installation, the cubature of the room, and the bottom-to-top flow of the animation convinced me to use a vertical quadraphony (4 speakers). To create a feeling of discovering new places in sound, I decided to use a virtual modular system (VCV Rack) that allows for a great plasticity during the process of construction.

Enter 2022 Generative Sound System by Arek Krupiński

The overall sound space consists of several layers. Some of them are being constantly generated, and the others flow with their own fixed rhythm, scrolling through the sonic worlds. Each of the layers has a different length, different articulation and a different character. Thanks to this approach, we obtain the polyrhythmic effect. The layers react to each other, and are also triggered by the visuals, including the cameras. The entire audiovisual system is tangled together by a mass of connections, to keep the overall feeling consistent. You can even say that you are dealing with an audiovisual instrument. For everyone who stands in front of the camera it will be a slightly different experience – your unique personal way of interacting with the factors will produce a new mutation of the whole system.

Enter 2022 Generative Sound System by Arek Krupiński


Size: 7m high, 5m on the ground
Resolution: 80x240 pixels
Interaction: three high-speed infrared cameras
Motion: generative, user sourced
Code: JavaScript
Sound: quadraphonic, generative sound system
Drivers: four custom controllers