１The world is full of sounds

The number I dial in the video is 400. Used for dial andbusy tones, 400Hz is also close to chord G4. A speakeris embedded in the wall behind and at the end of thevideo, the room is shaken by a sonic wave tuned to G.
Feel free to answer the phone when it rings.

Braille text is printed under the Japanese and English statement atthe entrance. Some information in the text is not contained in theJapanese and English statements. Likewise, the lip speaking thatappears in a video in this work is also a media form that can’t beread or understood by the majority of people who use their fivesenses. Perhaps, no one can comprehend all the symbols used inthis work and I believe this is what artwork generally is. Despite
that, I’m offering you this handout to give you a deeper insight
into the works. If you are willing to view them once again, in otherwords, “replay” the journey, please start by touching the Braille.
Hegel said, “History repeats itself,” to which Marx added, “first astragedy, second as farce”. But before you start to “play” this, I’d like2 I cannot hear you but I can listen to you

to impress this upon you: a farce doesn’t guarantee a happy

A stethoscope, set at almost the same height as myheart, was converted into a microphone. It picks up
the sound of my monologue coming from the wall.
The sound is then passed on by short-circuiting
through a catfish skin, where it’s rectified andamplified by an effector, and finally outputted to a
speaker under the tank. It ripples the surface of thewater and the vibrations power the electricity
generator under the tank. I placed an object in theshape of my ears on the right and left sides of the tank,the head of a catfish at the back, its tail at the front, andtuning-forks that produce a sine wave at every corner.
This is a “catfish sound vibration electricity generator”
that combines magic and science —a folk belief thatthe skull of a catfish looks like a cross combined withending. Its depend with your distance to see it. And farce issubjective. You have to prepare for what could happen some day.
Because the third time could be a tragedy.

Text Gaetan KUBOPhoto Keizo KIOKUTranslate byPenguin Translation

3 Matora Oishi (Drawing)"Map of Catfish in the bowels of Japan.
From Eiryaku-era astronomical fortune-telling encyclopedia"

This is a fortune-telling book based on Chinese astrology,
called zassho. These books were widely spread throughout
the Edo era. At the beginning of most zassho, there was amap of a Japanese island covered by a drawing of a huge“earthquake bug” like a dragon. Before catfish drawings
became popular, this was a creation from the imagination ofpeople who wondered where the huge shaking came from.

cymatics studies that observe the wave patterns of wheat
grains on a glass plate formed by vibrating the plate with aviolin bow.

4 A canister for tea leaves resembling Zhang Heng's
seismoscope

Zhang Heng’s seismoscope is supposedly the world’s
first seismograph. Invented by a Chinese scholar,
Zhang Heng, in 132 CE, it was able to detect distantearthquakes and roughly determine the direction
from where each earthquake occurred. To indicate
this, the device dropped a ball from a metal dragon
head into the mouth of a corresponding metal toad.
When we consider Japan’s first seismograph, which
was invented in the Meiji era (1868-1912) by o-yatoi
gaikokujin (hired foreigner), Zhang Heng invented hisseismoscope surprisingly early. None of the original
devices survive, nor do the blueprints, so the inner
structure of the device is still shrouded in mystery.

Thus, there are various theories regarding the seismoscope.

5 Contact of Dream:
Experimental image reproduction of [Tuba stentoro-phonica] by Samuel Morland

6 Contact of Dream: Experimental image reproduction of[Speaking statues connected to the wall] by Athanasius Kircher

I wonder when human beings first recognized sounds? Pythagoras
found a tone scale from the differences in sounds made by the hammerof a blacksmith, and Aristotle noted the existence of soundwaves. There
are some interesting points in this iconography that was published bySamuel Morland in 1671. In the iconography, which was announced as
the invention of the megaphone, he focused not only on the expansionof sound but also its multiplication, and the sounds of voices resonatingwith each other. From this, we realize the world is full of sounds.
This work and another copperplate work are the inverse of the original
digital data that was transcribed in the original block print.

This iconography of Athanasius Kircher’s invention shows themechanism of a megaphone in the wall catching outside sounds andconsolidating them before outputting from its narrow end, next to amouth of a statue, to make it sound as if the statue is talking. The
work of the voice coming out from the wall in this exhibition is theembodiment of this fantasy.
Each copperplate was etched and filled withink, making it the reverse of the original block
print. In other words, it is stored as it is andthe lines are not inked.

7 Contact of Dream: Experimental image reproduction of a Letter to Blake from Bell.
Sung to G(as his initial Graham) using a dead body's ear(Specimen) by Graham BellBell’s ear phonautograph is a recording device with no playback
function. It uses a needle attached to a corpse’s eardrum. A digitized
letter from Bell to Clarence J. Blake about an experimental result wasprinted, and put at the back of a glass plate covered in soot.
Afterwards, I exposed the glass plate to light and traced thedescription which could be vaguely seen.
In general, people tune sound to an A. But in the letter, it is suggested
that Bell picked a G, the initial letter of his name, Graham. I wonder if
he whispered his name as if he were talking to a person who
unexpectedly became an unnamed specimen in the name of scienceand technology development.

While I was tracing the lines and thinking
such things, I saw a reflection of myself on
the glass plate and I realized G is also thefirst letter of my name — Gaetan.

9 Thomas Edison "Edison tin foil phonograph called
Sogon-ki (Voice revive machine) in Japan"(Replica)

When the phonograph was first introduced into Japan, it wastranslated into Japanese as sogonki (voice reproduction device). As
the nuanced meaning of the Chinese characters used in the word
indicated “Device that revives voice”, the device probably suggested
the ability to revive the dead or be able to “replay” their voice forever
by recording their voice once. The microphone and speaker, whichlook like they are talking to a water well with an unseen bottom,

have a unique shape that gives a sense ofconnection to the afterlife.

8 Contact of Dream: Experimental image reproduction of disk record of
shake happened in Tokyo on 1887 by unknown person

Seismic disk recordings worked by attaching a needle to the surface
of a glass plate covered in soot, which then etched vibrations froman earthquake and made a copy of the seismic blueprint of therecorded data. This work is based on a full-scale copy of a blueprintof a recorded earthquake. I put a glass plate covered with soot on thecopy, flooded the glass plate with light, then traced the data which
could be vaguely seen.
As early records of earthquakes were taken with analog systems, theindividuality of recorders are reflected strongly, including the densityof soot and sensitivity of a needle. Tracing the data by hand makes itless realistic than if it was printed. However, I believe recording is asubjective action in the first place. The
recorder of the blueprint was unknown.

10 Sir James Alfred Ewing"Ewing type Disk-recording Seismograph"

James Alfred Ewing, who first introduced the phonograph to Japan,
later invented the world’s first modern seismograph. It is interestingthat the shape of recording devices developed from barrel to disk
while the seismograph’s shape developed the other way around. Itindicates how earthquakes and sounds have a close relationship.
Although the displayed seismograph has instruments measuring twoaxes, east-west and north-south, a third instrument that measuresvertical motion was added later. Seismic disk recordings and the“model showing the motion of an earth-particle during an earthquake”

were recorded with the later version.

11 Telesensation map of Sound and Vibrations

I improvisationally made a collage of the materials I collected while
making the artworks, and connected the dots. As I started to makethe pieces for the exhibition during the COVID-19 pandemic, I wasn’t
allowed to do some physical research, such as visiting libraries orinterviewing people, when I started the project. So, I started to collectwhat I thought was a limited amount of digital online data but it grewwell beyond the original scope and, as a result, I ended up drowningin a massive amount of data. I had to output the information to comeback to reality. Placing my mouth and body in the centre, I added
symbols and connected them like organs. This action seemed absurd,

12 SEKIYA Seikei (Kiyokage)"Model showing the motion of an earth-particle during an earthquake"but also made me have a sense of doing
something that is worth doing.

SEKIYA Seikei was one of the first Japanese seismologists. He
quantified the motions of east-west, north-south, and high-low using
a disk recording seismograph. He enlarged the movement of land
each second by 50 and made three-dimensional representations of
this with wire. The model on the left shows the movement of theground from the start of the earthquake to 21 seconds; the centre
shows the ground movement from 22 seconds to 41 seconds after
commencement, and the model on the right shows the movementfrom the last point up to 72 seconds.