Sonic Experiments – Resonating Futures

Afterimage II is an electroacoustic work exploring how sustained frequency exposure can transport consciousness as a form of space travel conducted from within. The piece's tuning system is informed by the resonant frequencies of Malta's 5,000-year-old Ħal Saflieni Hypogeum, a structure whose builders cut its chambers and oriented them towards celestial events, turning the underground temple into an embodied observatory. That same architecture also produces a resonant frequency around 110Hz in its deepest chamber, dense enough to physically sense the sound. Together, the acoustic and the astronomical were engineered in ensemble, as a structure that tracked the sky above by tuning the rock below. The central proposition of the work is that deep listening is a technology of interior space travel and transcendence, where sound carries awareness across distances the body will never physically cross. The piece’s spatial design moves sound through the space in patterns intended to disorient fixed location, these psychoacoustics activate the perceptual mobility the work theorises, tracking both the solar system above and the trance state within.

This project begins with a question I keep returning to: what makes us human, if we are not separate from the world around us? Post-organic is a sound-visual work as a spatial sound experience. The work explores decomposition not simply as decay or death, but as a process of transformation. A body, plant, animal, object, building, or memory may lose its form. But in this world, nothing truly disappears. It breaks down, changes state, and becomes part of something else, as matter continuously decomposes, transforms, and returns in new forms. The project approaches decomposition as a journey into an unfamiliar state of existence. Through spatial sound, it transports the listener into a speculative future environment where human bodies, organic matter, water, waste, and memory circulate through the same ecological system. Within this imagined environment, the separation between humanity and nature begins to dissolve.
 

92x24 is a live coding performance for 4 low-power radio stations, 2 analog radio-television sets, and 1 KW radio, and consists of a pre-recorded fixed-media video and a live performance featuring interference signals programmed on-site. The performance explores the optimism promoted during the Space Race, the resulting depictions of technological achievements and utopian visions of the future from the 1950s through the 1970s, and sets them in direct contrast to today’s realities of life—marked by widespread social injustice and the privatization of space travel by billionaires (the so-called ‚billionaire space race‘).

This project stages a speculative encounter between a singer and an unfamiliar intelligence observing her through the lens of bioacoustics, reversing the logic of the studies we conduct on animals. It invites us to consider what aspects of our existence might appear strange, incomprehensible, or even alien to an observer whose ways of perceiving and understanding differ fundamentally from our own.