Tree of Life
Program Notes
Additional Videos
Description
Performances
Reception
Special Thanks
Program Notes
About 600–592 B.C., the prophet Lehi had a vision of the tree of life. He said:
And it came to pass that I beheld a tree, whose fruit was desirable to make one happy.
And it came to pass that I did go forth and partake of the fruit thereof; and I beheld that it was most sweet, above all that I ever before tasted. Yea, and I beheld that the fruit thereof was white, to exceed all the whiteness that I had ever seen. And as I partook of the fruit thereof it filled my soul with exceedingly great joy; wherefore, I began to be desirous that my family should partake of it also; for I knew that it was desirable above all other fruit.1
Lehi’s son, Nephi, subsequently experienced a vision that featured the tree of life. Of the meaning of the tree, Nephi stated, “it is the love of God, which sheddeth itself abroad in the hearts of the children of men; wherefore, it is the most desirable above all things.” Nephi also explained that the fruit of the tree of life “is most precious and most desirable above all other fruits; yea, and it is the greatest of all the gifts of God.”2
Centuries later, John the Apostle recorded a vision of the holy city, New Jerusalem. He wrote, “in the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.”3
Tree of Life is a sonic representation of these descriptions of the tree of life.
The parameters of every sound of Tree of Life are selected algorithmically (e.g., parameters such as onset time, amplitude envelope, duration, frequency, and spectral content). Each listener may have a unique aural experience depending on their path through the installation space.
Additional Videos
This is a 360-degree video of Tree of Life recorded on September 21, 2018. The video was shot with a GoPro Omni. The audio format is first-order Ambisonics, synthesized using renders from each sound-producing unit. Your experience with the video will depend on your device.
This is also a 360-degree video of Tree of Life recorded on September 21, 2018. The audio of this video was recorded with in-ear binaural microphones (i.e., you are hearing what I heard as I walked through the installation and recorded with binaural microphones in my ears). Headphones are recommended. The equipment included Soundman OKM II Classic Studio mics, a Zoom H6 portable audio recorder, and a GoPro Omni (for the video).
This is a binaural walk-about recording of Tree of Life from September 19, 2018. The recording was made using in-ear binaural mics. Headphones are recommended.
This is a binaural synthesis of the audio from Tree of Life using renders from the individual sound-producing units. This is an hour-long rendering, intended to give listeners a simulation of Tree of Life for use at home and elsewhere. Headphones are recommended.
Description
Tree of Life is a 24-channel sound installation. The installation includes 24 sound-producing units suspended at varying heights within the presentation space. On the horizontal plane, the units are distributed uniformly within a roughly circular area, approximately 15.5 feet in diameter (4.7 meters). Vertically, the units are distributed uniformly within a height range from about 4.5 feet to 7 feet (1.4 meters to 2.1 meters).
Each sound-producing unit is comprised of black cord, steel hardware, a mesh bag, a 7-inch (18 centimeters) tablet, 4 mini-loudspeakers, and a 2.5 x 2.5 x 4 inch (6.35 x 6.35 x 10.16 cm) block of wood. On each unit, the 4 loudspeakers are daisy-chained to the tablet and surround the block of wood. This ensures that sound is distributed evenly around each unit, regardless of where the unit is facing.
Audience members are greeted by a sign with program notes when entering the installation. Optional enter and exit signs assist in the flow of traffic. Inside the installation, listeners are able to remain still or move freely through the sound-producing units.
Scent is propagated through the performance space using reed diffusers and a low-powered fan. The performance space is illuminated with stage lighting, including gobos that provide silhouettes of branches and leaves.
Upon exiting the installation, listeners are directed to an online guestbook where they can leave their impressions.
Performances
September 19, 2018, 10:30 AM–1:30 PM; Black Box Theater, Texas A&M University
September 20, 2018, 1:30 PM–4:30 PM; Black Box Theater, Texas A&M University
September 21, 2018, 11:00 AM–2:00 PM; Black Box Theater, Texas A&M University
Reception
Visit the guestbook to read what some listeners have written.
Special Thanks
Jen Moeller
Jeff Watson
Zack Villasana
Kylee Mullins
Brittany Kilborn
Logan Silva
Elvis Bendaña
Layne Babin
Sarah Franke (Department of Performance Studies, Texas A&M University)
11 Ne. 8:10–12 (Book of Mormon). See also 1 Ne. 8:2–9:1; 11:4–8, 25; 15:21–22, 28, 36. Cf. “Book of Mormon, 1830,” pp. 18–21, The Joseph Smith Papers, accessed August 29, 2018, josephsmithpapers.org/paper-summary/book-of-mormon-1830/24; Alma 32:40–43.
21 Ne. 11:22; 15:36. See also 1 Ne. 11–14; 15:21–36. Cf. John 3:16 (King James Version); Doctrine and Covenants 14:7.
3Rev. 22:2. See also Rev. 3:12; 21:2, 10. Cf. Ether 13:2–10.