At first glance, it appears that Rick Araluce has bolted together a tangle of rusty old pipes of varying gauges to create Uprising. Take a picture, flip your camera over, and it’s like you’re peering up at the ceiling of your basement, preparing to unclog the shower line. From normal perspective, the jumbled array could be mistaken for a jungle gym. There’s the suggestion of Gasworks Park, drunken plumbers, or a convention of bassoons. Walk around it, listen carefully, and you’ll hear an intermittent hissing or drone. There’s a pattern, but it’s not exactly regular, not exactly music. This is where the co-creator of Uprising, Steve Peters, comes in. He recorded samples of what’s called “room tone” (what we think of as silence or white noise), digitally manipulated it, and it’s now emanating from the plumbing. The sound flows like water, as it were. “There are speakers in the pipes,” Peters explains. “The bigger the pipe, the more low frequencies you’re gonna get. The pipes are actually processing the signal.” In other words: big pipe, tuba; little pipe, piccolo. By way of analogy, says Peters, “It’s like taking a beam of white light and putting it through a prism so you can see the color.” BRIAN MILLER

Mondays-Fridays, 9 a.m.-5 p.m. Starts: Jan. 25. Continues through April 13, 2012