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The documentation of An Instrument Made of Light is now available in video, you can find the link here.

We are deeply grateful to everyone who was part of this process and helped bring this work into being. This piece grew through many hands, conversations, and forms of care, and we want to acknowledge the people and contexts that made it possible.

A special thank you to @annatormenta__ for her beautiful direction and video work, and to @sofia.papita and @camilapozner_ for contributing materials that became part of this documentation. And of course @bungalovv for editing.

We also want to thank @daad_artists , @ctmfestival and @instrumentinventors for supporting and accompanying this process. Special thanks to @startedfromthebottomnowwequeer and @dahliaborsche the curatorial team.

This work carries the energy of many people, many voices, and many forms of collective attention. We’re very happy to finally share this documentation with you.

The sound composition of Microritmos v.4 is a piece that operates from finding patterns in noise. In this case, several white noise generators are spatialized and processed at the signal level and simple effects to generate various harmonic phenomena. The data from our machine learning is the result of the analysis of patterns and events generated by the Bacterial Cells and represented at a visual level in touch designer. In version 4 of Microritmos the feedback principle is the modeler of the aesthetics in the sound composition.

Microritmos v.4 is part of the Beyond The Sound exhibition in @dumumeni at @faun_festival. Brno, Czech Republic

Opening 4 of April 2024.

#maxmsp #noise #datadrivencomposition #machinelearning

The sound composition of Microritmos v.4 is a piece that operates from finding patterns in noise. In this case, several white noise generators are spatialized and processed at the signal level and simple effects to generate various harmonic phenomena. The data from our machine learning is the result of the analysis of patterns and events generated by the Bacterial Cells and represented at a visual level in touch designer. In version 4 of Microritmos the feedback principle is the modeler of the aesthetics in the sound composition.

Microritmos v.4 is part of the Beyond The Sound exhibition in @dumumeni at @faun_festival. Brno, Czech Republic

Opening 4 of April 2024.

#maxmsp #noise #datadrivencomposition #machinelearning

#TBT The Minimum Distance Between Gestures 2021, pieza generativa, comisionada por el ensamble KNM de Berlin. Explora la posibilidad de la improvisación a partir del uso de algoritmos de identificación y clasificación de gestos corporales. Algoritmo, electrónica, cuerdas y vientos. #score #generative #maxmsp #td #ofx #electroacustica

#TBT The Minimum Distance Between Gestures 2021, pieza generativa, comisionada por el ensamble KNM de Berlin. Explora la posibilidad de la improvisación a partir del uso de algoritmos de identificación y clasificación de gestos corporales. Algoritmo, electrónica, cuerdas y vientos. #score #generative #maxmsp #td #ofx #electroacustica

#TBT The Minimum Distance Between Gestures 2021, pieza generativa, comisionada por el ensamble KNM de Berlin. Explora la posibilidad de la improvisación a partir del uso de algoritmos de identificación y clasificación de gestos corporales. Algoritmo, electrónica, cuerdas y vientos. #score #generative #maxmsp #td #ofx #electroacustica

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

Lately, I’ve had the feeling that time has become dislocated that sometimes a month feels like a year, and other times an hour passes like a minute. So this was the case with may.

WE'RE BACK ‼️

This time, the night unfolds at a secret location somewhere near Jannowitzbrücke

FORMELLA opens the night, setting the tone from the jump. SAMI steps in next alongside HANS ARSEN on the mic bringing a live energy built for the floor. deep into the night MUQATA'A returns behind the DJ decks after three years away. MICROHM carries things through until the early hours.

22:00 - 04:30
Secret location near Jannowitzbrücke, Berlin.

Early birds
Link in bio

IMPORTANT LOCATION INFO & ACCESS
The location is a members-only venue situated near Jannowitzbrücke in Berlin, Mitte. If you are already a member, please remember to bring your own card otherwise you will be able to sign up at the door directly for an annual membership fee of 5€ (cash only)

Artwork by @avedelevedei

@muqataa
@formella.1
@microhm.io
@sam1.zz
@90mil___

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

A little late but not so late, playing opening set for @blackknoll and @abulmogard residency at @morphine_records_raum. Thanks for the invitation, happy to play live some of the material of my upcoming album! 🖤🫶

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

An Instrument Made of Light
2026

In this new project, Interspecifics shift their focus from the microscopic to the human scale, exploring how collective bodies organize and move in response to global urgencies. Using audio recordings of marches and demonstrations from around the world, the collective voice becomes the raw material for a kinetic light and sound instrument.

An automated system transforms these protest recordings through spectral analysis into a living score of moving light, reflections, and quadraphonic sound. The result is a contemporary mantra where political memory, vibration, and light merge into a performative structure, reactivating protest as an energetic field that is constantly recomposed and reimagined.

Material and technique:
Audio recordings from global protests (sourced from open archives); spectral analysis; custom Max/MSP software; automated audio-selection system in python, moving spotlights; motors; crystal prisms and refractors; DMX lighting control with OLA; quadraphonic sound system; real-time resynthesis; and a spatialized audio-visual installation.

Conceptualization, programing, system design and composition by: @interspecifics _ Paloma Lopez and Leslie García.

Curatorial team: Sebastian Dürer and Dahlia Borsche

Commissioned by the @daad_artists, @ctmfestival, @instrumentinventors for Echoes of the Tumult exhibition. All our gratitude and affection to everyone involved in the process.

Pictures by Eunice Maurice

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

Many thanks to @soundwalkcollective for the invitation to collaborate in the development of their instrument for The Ear Is the Eye of the Soul, presented at the Holy See Pavilion of the 61st Venice Biennale, curated by @hansulrichobrist and Ben Vickers.

The project unfolds across two sites in Venice, the Giardino Mistico dei Carmelitani Scalzi and the Complesso di Santa Maria Ausiliatrice, as a sonic exploration centered on listening, inspired by the work and thought of Hildegard von Bingen.

In this context, we developed a system for data capture and processing using infrared cameras, alongside a VLF antenna built with locally sourced materials from Venice. From these streams of information, we generated a real-time musical system, structured through an aesthetic logic inspired by Hildegard, where sound operates as a medium for sensing and connecting the visible and the invisible.

It is an honor to be part of this project alongside artists such as Brian Eno, Patti Smith, FKA twigs, Devonté Hynes, Kali Malone, Caterina Barbieri, Holly Herndon, Mat Dryhurst, Suzanne Ciani, Terry Riley, Meredith Monk, Laraaji, Moor Mother, and many others.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

I’m very happy to share a glimpse of the documentation for S.A.R — Seismic / Atmospheric Radio, a project I worked on throughout 2025 thanks to a commission by @insite_art for the exhibition Erratic Fields, curated by @andreatorreblanca_.

S.A.R is a system for listening to the San Andreas Fault as more than a tectonic fracture. It approaches the fault as a living corridor shaped by seismic activity, migration, labor, surveillance, infrastructure, and social tension.

Through antennas, sensors, archival materials, and open data, the project captures signals from the territory in the form of radio waves.

I invite you to visit the exhibition website to read more about the project, and on my GitHub you’ll be able to find the code of the system I developed for this piece. And of course if you happen to be in San Diego don’t miss the exhibition @breadandsalt_sandiego

A special thank you to @huerta___huerta for their support in the production of the piece in Tijuana, to @ephrenthompson for the support during installation, and to @sarai_elguezabal for the photo and video documentation of the project.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Lots of gratitud to the entire @sonicacts team for inviting me to present a new iteration of Saturn Spectrums - from the Sun Ra archive, first as part of their Spatial Sound residency, then in their listening space, and finally as a live presentation at Murmur. It was a beautiful experience to share this with you all.

1- 10 Photo by Angelina Nikolayeva.
11-12 Photo © Pieter Kers | Beeld.nu.

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Wave Reflector, 2024
Resonadores cerámicos, motores hápticos, domo modular de acero inoxidable, impresión de resina 3d, pantallas lcd, sistema octafónico de audio, componentes electrónicos y software personalizado
100 x 180 cm

Esta instalación electromecánica está diseñada para reproducir patrones de ondas cerebrales a través de 64 osciladores de cerámica estratégicamente dispuestos en un semidomo. La pieza destaca la naturaleza vibratoria de la cerámica, utilizando resonadores y motores hápticos para sincronizarse con las oscilaciones electromagnéticas del cerebro. Tanto como instrumento performativo como instalación sonora, Wave Reflector permite hacer conciencia en tiempo real del flujo de energía del cerebro––empleando el principio de retroalimentación neuronal––mientras produce composiciones semi-generativas basadas en los datos recopilados.

Desarrollado dentro del sistema nacional de creadores de arte y durante las residencias artísticas TEC de Monterrey.

En muestra en @palmagaleria
Registro @agusarcefigueroa

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!

Qué año más pinche complejo. Pero qué bueno poder ver la verdadera cara de la gente. Y que bueno y que hermoso cuando la vida te empuja a seguir tu camino.Unas fotitos tocando del 2025 como #Microhm como @interspecifics, como yo misma y con amigues. De CDMX a Alemania, Colombia vía Rotterdam, pasando por Portugal, Polonia y Alemania de regreso. Gracias!