1. The propeller (flight, wind, storm, dervish, freedom)
The propeller stands approximately four metres away from organ. It acts as a projection surface for the varying coloured light that shines out from the projector installed at the back of the organ. The image hangs in the air. The speed of the propeller is controlled by the footpumps (6) which have poten- tiometers installed beneath them. The faster you pedal, the faster the propeller spins. There are eight modes for speed based on the data derived from pulling out the eight organ stops (7). This is described below in point 7.
2. The small phonograph horns (eyelids, stars, Morse code)
Inside the two small phonograph horns on each of the metal stems are light bulbs. They flash on and off with varying degrees of brightness according to how hard the organ keys are depressed (velocity). This function is controlled by sixty-one light sensors installed under each key of the keyboard (4). The phonograph horns are mounted on flexible goose-neck tubes so that they can be adjusted according to the whim of the player, who can turn them inwards to feel the effect of the light, or outwards for others to see.
3. The large phonograph horns (blooms of light, headlamps, sun, heat)
Similarly, the large horns have light bulbs inside them. They react to the sound envelope (volume) that is picked up by two contact microphones installed in the organ, and produce softer ambulating light.
4. The keyboard (fingers/digits as lips, colours as words, eyes as hammers)
The light sensors under the five-octave keyboard have various functions. They detect which note is being played. Different combinations of keys are respon- sible for changing the colour of the projected light circle. The velocity value also controls the brightness of the projected colours. The right most key/ sensor switches between two modes of the electro-acoustics of the analogue sound filter installed in the back of the organ. It manipulates and accompanies the original organ sound. The frequency of the manipulated sound slides from high to low depending on how many keys are depressed. One ‘secret’ key (which I never managed to fix properly and always produces a ‘clunky’ sound) reverses the audio/visual output. For a novice player it can be a novel surprise. For an experienced player it can be used as an expressive gesture.
5. Stool (arousal, depth)
The sub-woofer is installed inside the organ stool. It emits low frequency sounds generated by the electro-acoustic sound filter (13). At certain levels it is possible to feel the strong vibrations caused by low sound frequencies, especially when the secret key is depressed.
6. The foot pumps (lungs, power, speed, grounded, walking, running)
The air from the foot pumps creates a vacuum in the organ bellows, affecting the volume of its various audio output modes. However, by varying pedalling speed, and hence the speed of the propeller, the projected coloured light becomes split up, creating optical illusions and multi-coloured variations of the whole and fragmented circle.
7. The eight stops (glotal stop, navigation, mirror, lens)
The eight stops of the organ are mechanical levers. They have distance detecting sensors to register when they are activated and how far they are pulled out. As they are light-sensitive they are relative, rather than fixed detectors.
The four left hand stops affect the lower bass keys, and the right hand stops the higher keys (treble). Like our hands, their functions are mirrored. The two outer-most levers are 'couplers'. They do not change the sound of the organ itself, but are connected to notes an octave below or above the key played. The remaining six stops change the quality of the sound by control- ling how much air is passed over the hundred-and-twenty-two reeds (two reeds for each key) of the organ. The effects range from solo 'voice' to 'nasal', heavenly and flute-like qualities. The four stops in the high range control video filters that affect the coloured, projected circle, creating different shapes and patterns of light. Each time a stop is pulled out it changes the rotation direction of the circle. The stops also affect the speed of the fan, and the effort of pedalling the foot pumps. With one stop out it is difficult to gain speed (like walking fast but getting nowhere), with all eight stops out it is easy (like running down a steep mountain).
8. The eight airbrush guns (pollution, intoxication, presence, memory, trigger)
The airbrush guns are fed by the air compressor. They have push-type solenoids attached to their valves, controlled by the i/o box, LAN box and DMX box. Each aroma corresponds to a colour of eight sound groups. They are activated on a programmed timer that registers how long a player sustains a certain sound group. The aromas are stored in their cups. Each one is a synthesized aroma composition. They range from sweet to acidic, bitter, floral and synthetic-like smells with descriptors such as tropical rain forest, fish market, lavender, vanilla and street bomb. As each aroma is released it fuses with the previous ones. The propeller performs a social function, spreading the aromas to an eventual audience and clearing the air for the player. A player has the best chance to experience individual aromas, while spectators experiences the combined aromas. It is easier to recognise the descriptor names of some aromas, and impossible to identify others. How people describe and are affected by the aromas is highly individual.
9. The medium-sized phonograph horns (synthesis, industrial aura, transmission)
The medium horns have small speakers installed inside of them. They are fed by the electro acoustic analogue sound filter via sound picked up by two contact microphones that pass through the digital sound interface. They modify the sound of the organ's own voice in different ways. Certain frequencies cause the aluminum horns to vibrate and resonate. When the horns are placed close to the ears of the player the stereo sound becomes localised, or they can be directed away from the player out into the space. Eventual spectators may choose to come close to the horns.