In 2023 I was commissioned by Shilla Strelka and [Klangraum](https://www.klangraum.at/en) in Krems, Austria for a new sound art installation, [[Zvon]]. The dedicated space, formerly utilized for monastic gatherings, intuitively inspired me to delve into more liturgical topics. I prefer to structure my sound installations as site-specific, and this work is no exception. In the past, I have explored the phenomenon of bells on several occasions ([[kolokoly|composing for the carillon on Prior, Bratislava]], recording sheep/cow bells at [[Chočské vrchy a doliny]] and experimenting with [bell recordings in Kraskovo](https://mappa.bandcamp.com/album/gemer-gothic-route), commissioned by Mappa). I felt that I had not dedicated enough time to studying this topic, so I delved into available literature, ranging from historic books through bell-founding to legends, soaking in every bit of information I could find. As it goes in my life, this has turned into a very intense obsession. ### Bells made from gas tanks The bottom part of my installation consists of handmade bells crafted by a shepherd from the village of Zákamenné in northern Slovakia. He creates them by cutting and welding gas tanks and other pressurized gas containers, intending them for use as cowbells. After I discovered his ad, I embarked on a 300-kilometer journey to meet him and learn more. I immediately fell in love with their aesthetic and tones. Reusing scrap metal for something so enchanting; recovery from the past intents; metal finding its new resonances... There is something particularly pure about these bells, deeply enveloped in their core. And the rust that covers their whole structure somehow even embraces it. In the installation, these bells are struck by solenoids in custom-built enclosures using 3D-printed parts and laser-cut aluminum plates. The solenoids are driven by efficient MOSFET boards, controlled by a microcontroller. The microcontroller is programmed to play several algorithmic compositions based on polymetry and traditional English change ringing. ![[kravske_1.jpeg]] ![[kravske_3.jpeg]] ![[kravske_2.jpeg]] ### Reversing the process The middle part of my installation was the most difficult to make, even though the result may seem like a rather ordinary bell. It started as a concept, reflecting the long history of bells being repurposed for other purposes — most commonly weapons and ammunition. During world wars (and even before them), tens of thousands of bells were stolen and melted to be used for manufacturing guns, cannons, and ammunition. Bell founders were converted into gunsmiths, and the singing of bells into the blasting of weaponry. I decided to try to do a conceptual reverse of the process and use ammunition shells as a material for casting a new bell. The manufacturing process starts with creating a 3D model of the bell. I was unfortunately limited by the available foundries to a size of <10 cm in diameter, but this bell was never meant to be about just the physical manifestation — I cared about what it represented. I tried to create a computer simulation of how the bell might sound using Mesh2Faust software, but unfortunately, the density of brass as an input parameter was crashing it for some inexplicable reason. The 3D model was then printed by Matúš Cepka on a resin printer using wax-like resin, which is proven to work with plaster molds. The founder, Martin Potaš, used the print to create a mold from extremely fine casting plaster capable of reproducing the little ornaments I have designed for the bell's bow. Modern ammunition shells are made from brass, which has a different composition than the common bronze-like metal used for bell founding. Generally, brass is more difficult to cast, since it contains zinc. Zinc starts to evaporate at higher temperatures and contaminates the equipment with a thick grey layer of dust-like substance. The second problem was caused by the volume of the ammunition shells — they needed to be crushed and flattened so they could fit into the melting pot for the desired amount of material. But both of these problems were overcome and after weeks of preparations, the material was melted and a new bell was cast. After proper natural cool-down (for best sound properties), I excavated it from the original plaster mold and started the cleanup using citric acid, brushes, files, and sanding paper. I removed the flow channels from the sides of the bell but decided to keep the top channel and cone as a reminder of the process. It creates a contrast between the worlds inherent in the bell — polished, crafted, carefully designed and the molten, raw, organic metal. In between those parts, I drilled a through-hole for mounting on the swinging axis. For this particular bell, I designed a simple movement solution using a stepper motor and a set of sprockets with a belt. I wanted to achieve natural-looking swinging action. I used sprockets since I was worried about the torque needed to swing the bell – the 20 to 200 teeth ratio gives the motor 10x mechanical advantage, so it only needs a tenth of the force it would need with a direct drive. The swinging is programmed to have acceleration periods in the movement, so it flows more naturally and also puts less strain on the whole system. ![[odlievanie_1.jpeg]] ![[odlievanie_2.jpeg]] ![[odlievanie_3.jpeg]] ![[odlievanie_4.jpeg]] ![[odlievanie_5.jpeg]] ![[odlievanie_6.jpeg]] ![[odlievanie_7.jpeg]] ![[odlievanie_8.jpeg]] ![[odlievanie_9.jpeg]] ![[odlievanie_10.jpeg]] ### Whispers The top bell was originally designed to be a decoration. It was rather poorly cast from unknown metal (probably scrap cast iron) with many defects and even worse sound. The surface was covered with a layer of fake patina — paint, which I wanted to remove to reveal the bare shine of the metal. I also decided to design a proper yoke for the bell — it was cut by Miro Mládenek from a single block of maple wood into a shape reminiscent of traditional bell yokes. This bell is used in the least traditional sense of the three and conceptually reflects the legends surrounding bells in Slovakia and Czechia (and possibly in other countries as well). As bells were traditionally anthropomorphized, christened, and named, people also attributed to them the power of "speech". In various legends, they were "commenting" or reminding of various events in their sound. An example would be a Czech legend where a bell sings "Jan, za chrta dán" (Jan, traded for a sighthound), reminding people of an event where a local lord traded his servant to a witch to get his kidnapped dog back from her. This bell is used as a very specific speaker using a tactile transducer attached to its body. It deeply transforms any sound played through it with its inherent resonances. Unique compositions that highlight its properties and character were made for this particular bell. Almost breath-like patterns are combined with broad-spectrum noises to embrace the anthropomorphization aspect. ![[sepkajuci_1.jpeg]] ![[sepkajuci_2.jpeg]] ![[sepkajuci_3.jpeg]] ![[sepkajuci_4.jpeg]] ### Control The whole piece is controlled by a microcontroller, which represents the algorithmic heart of the system. It is combined with MOSFET boards, stepper motor driver, power amplifier for the tactile transducer and audio player, which is triggered digitally to play the compositions. A diagram is attached to the box for future upgrades and servicing. ![[control box.jpeg]] ## Hear Here festival in Leuven (2025) The installation was transported for its second exhibition during the Hear Here festival in Leuven. For this purpose, the internal control mechanisms were upgraded to a new system. The composition is no longer controlled solely by the microcontroller, but also by a dedicated computer that controls the top and bottom bells. This allows for far greater compositional variability. This iteration of the installation also uses medieval, sunlight-derived measures of time such as [_horae temporales_](https://en.wikipedia.org/wiki/Unequal_hours) and [_moment_](https://en.wikipedia.org/wiki/Moment_(unit)). These units are more in tune with the natural cycles and stimulate our collective imagination of what time can mean.