projects
&
collaborations
&
collaborations
sound artist, music pedagogist and musician, currently exploring the margins between sound, language, and meaning through live performance, audiovisual and sound installation, unfolding a praxis through the lenses of psychoacoustics, postcoloniality, and ecocriticism - my research involves a transdisciplinary approach, borrowing from frameworks such as critical thinking, onto-epistemology, theory of complexity, noise and historical memory
A Throat in the Knot
A Throat in the Knot is a mixed media installation that explores the sensation of a knot in the throat. The basis of the piece is formed by a series of recorded interviews carried out in an intimate space, in which the interviewer and interviewee are connected by headphones and contact microphones placed adjacent to the larynx. The exploration of this topic brings about the attunement with our body’s translation of
affliction and sorrow, of irritation and anger. It seeks to draw an augmented awareness and proximity with one’s own signs of discomfort through memory and emotion cartographies.
This project was part of the Artistic Residence Connect-Reconnect between Goethe-Institut Georgia in collaboration with SoundS UdK Berlin.
Interviewees: Nyré Tiessen, Almourad Aldeeb, Nino Davadze, Christopher McDawell, and one anonymous participant.
Vernissage: Goethe-Institut Georgia, Tbilisi 03.26
This project was part of the Artistic Residence Connect-Reconnect between Goethe-Institut Georgia in collaboration with SoundS UdK Berlin.
Interviewees: Nyré Tiessen, Almourad Aldeeb, Nino Davadze, Christopher McDawell, and one anonymous participant.
Vernissage: Goethe-Institut Georgia, Tbilisi 03.26
stils & project cover
I’m-permeable Enclave of Contraction
|| multi-channel sound installation
-4 aluminum air ducts
-4 speaker chassis
-aluminum frame nonagon
-window reflective foil
-LED strips
-4.1 sound system
Different from an ‘immersive environment, in this body of work I suggest an immersion experience through the contrast created between the poles of emersion and immersion by an enterable inner-reduced-space that simulates this separation. Two different soundscapes reinforce this contrast: a) the one within the reduced space played back from the air duct speakers, consisting of a collection of recordings of sounds from both my head and my friend’s head, which includes yawns and eardrum popping due to it, guttural sounds from swallowing and mouth/throat activity, the backneck when turning the head, blinking eyelids, breathing, an attempt of recording my voluntary activation of the tensor-tympani muscle, sound of our voice from inner monologues spoken out loud as well as me and my friends exchange when recording her; b) the one from the 4.1 sound system consisting mainly of soundwalk recordings through four different airports, with emphasis on the shopping areas, and also in one supermarket, one hardware store, and one shopping center, in Berlin. All the recordings were made between September and October 2025.
The decision to integrate these two types of soundscapes came from the notes about Truax’s model of conception, in which the priority diverts from the physical properties towards the way sound mediates the connection between the environment and the individuals. By the representation of two apparent poles: the private space in the ‘head soundscape’, and the public space in the ‘shopping center soundscape’, I try to bring about a reflection on the dialectical matter between the two poles.
Based on Katharina Schmidt’s Echoes of Subjectivity: A Literary Acoustemology of the Home :
*What is it that we use as a membrane to separate the mental spaces that we experience? Be it in solitude or in the company of other beings. What’s the meaning of such a membrane?
*E.g.: the use of curtains, sounds, or other objects/materials, or even symbolic materials that create these interstices between public and private space, described by Schmidt, or that which separates the other, which is not necessarily impermeable or opaque.
*Permeable and impermeable mental spaces: How is subjectivity implied in this equation?
Based on Jiří Zelenka’s Hearing and Listening in the Context of Passivity and Activity :
*Parcelization of the phenomenal field of experience
*Passive-active/hearing-listening as a dynamic and complementary relationship within the field of experience, within the framework/nature of being-in-this-world, as Zelenka draws from Ponty’s inputs
By considering Schmidt’s borrowing of the ‘fold’ figure from Deleuze and its reinterpretation by Berman in the fold as a membrane, and bringing it into conversation with Zelenka’s phenomenological analysis of hearing and listening dynamics put together in Ponty’s framework of being-in-the-world, I propose a sound installation that amalgamates both theses.
Emphasizing the concept of the fold as a membrane and extending it along with the subjective and collective experience of both hearing and listening, by problematizing it through questioning what this means in correlation with being in this world as an individual, but at the same time as part of a larger system that coexists through the need for a certain harmony.
The following questions arise:
*Where can the dynamic experience of hearing-listening/passive-active, while being-in-this-world, find meaning in the interplay between private and public sonic spaces?
*What and how do the permeable and impermeable mental spaces interfere with this dynamics?
*How and to what extent do we notice these interstitial points of separation/union between the individual and the collective experience of perception?
Finally, I try to draw a connective tissue that binds with the critique from Veronica Gago’s Feminist International, How to Change Everything, and the following questions and commentaries arise from it:
The self as an enclave of extractive contraction.
A metaphor about self-consumption, about the transfer/handover of power over our individual and communal sovereignty, for the replacement of our spaces of meaning creation with spaces of massive and expansive non-significance.
How is a soundscape like this associated with us? What metaphors can be found in these trances of non-sharing, where conversations do not take place, and only some fragments detached from other lives and stories are captured? What is the value of these non-exchanges?
How do these soundscapes alienate us from the collective? How do our own experiences become fragments detached from an incomplete, torn, and interrupted narrative, shaped by a state of attentional debt and a semantic and spiritual contraction?
What is the relationship between the separation of private and public space and the immanent separation of the collective and the individual?
How are these permeable spaces interwoven? What determines their degree of permeability? Is this alienation a simultaneous effect of the sealing off of our mental spaces?
Presented in Zwitschermaschine - SoundsAbout Gallery
10.25
-4 speaker chassis
-aluminum frame nonagon
-window reflective foil
-LED strips
-4.1 sound system
Different from an ‘immersive environment, in this body of work I suggest an immersion experience through the contrast created between the poles of emersion and immersion by an enterable inner-reduced-space that simulates this separation. Two different soundscapes reinforce this contrast: a) the one within the reduced space played back from the air duct speakers, consisting of a collection of recordings of sounds from both my head and my friend’s head, which includes yawns and eardrum popping due to it, guttural sounds from swallowing and mouth/throat activity, the backneck when turning the head, blinking eyelids, breathing, an attempt of recording my voluntary activation of the tensor-tympani muscle, sound of our voice from inner monologues spoken out loud as well as me and my friends exchange when recording her; b) the one from the 4.1 sound system consisting mainly of soundwalk recordings through four different airports, with emphasis on the shopping areas, and also in one supermarket, one hardware store, and one shopping center, in Berlin. All the recordings were made between September and October 2025.
The decision to integrate these two types of soundscapes came from the notes about Truax’s model of conception, in which the priority diverts from the physical properties towards the way sound mediates the connection between the environment and the individuals. By the representation of two apparent poles: the private space in the ‘head soundscape’, and the public space in the ‘shopping center soundscape’, I try to bring about a reflection on the dialectical matter between the two poles.
Based on Katharina Schmidt’s Echoes of Subjectivity: A Literary Acoustemology of the Home :
*What is it that we use as a membrane to separate the mental spaces that we experience? Be it in solitude or in the company of other beings. What’s the meaning of such a membrane?
*E.g.: the use of curtains, sounds, or other objects/materials, or even symbolic materials that create these interstices between public and private space, described by Schmidt, or that which separates the other, which is not necessarily impermeable or opaque.
*Permeable and impermeable mental spaces: How is subjectivity implied in this equation?
Based on Jiří Zelenka’s Hearing and Listening in the Context of Passivity and Activity :
*Parcelization of the phenomenal field of experience
*Passive-active/hearing-listening as a dynamic and complementary relationship within the field of experience, within the framework/nature of being-in-this-world, as Zelenka draws from Ponty’s inputs
By considering Schmidt’s borrowing of the ‘fold’ figure from Deleuze and its reinterpretation by Berman in the fold as a membrane, and bringing it into conversation with Zelenka’s phenomenological analysis of hearing and listening dynamics put together in Ponty’s framework of being-in-the-world, I propose a sound installation that amalgamates both theses.
Emphasizing the concept of the fold as a membrane and extending it along with the subjective and collective experience of both hearing and listening, by problematizing it through questioning what this means in correlation with being in this world as an individual, but at the same time as part of a larger system that coexists through the need for a certain harmony.
The following questions arise:
*Where can the dynamic experience of hearing-listening/passive-active, while being-in-this-world, find meaning in the interplay between private and public sonic spaces?
*What and how do the permeable and impermeable mental spaces interfere with this dynamics?
*How and to what extent do we notice these interstitial points of separation/union between the individual and the collective experience of perception?
Finally, I try to draw a connective tissue that binds with the critique from Veronica Gago’s Feminist International, How to Change Everything, and the following questions and commentaries arise from it:
The self as an enclave of extractive contraction.
A metaphor about self-consumption, about the transfer/handover of power over our individual and communal sovereignty, for the replacement of our spaces of meaning creation with spaces of massive and expansive non-significance.
How is a soundscape like this associated with us? What metaphors can be found in these trances of non-sharing, where conversations do not take place, and only some fragments detached from other lives and stories are captured? What is the value of these non-exchanges?
How do these soundscapes alienate us from the collective? How do our own experiences become fragments detached from an incomplete, torn, and interrupted narrative, shaped by a state of attentional debt and a semantic and spiritual contraction?
What is the relationship between the separation of private and public space and the immanent separation of the collective and the individual?
How are these permeable spaces interwoven? What determines their degree of permeability? Is this alienation a simultaneous effect of the sealing off of our mental spaces?
Presented in Zwitschermaschine - SoundsAbout Gallery
10.25
poster & photos
About the Wound of Listening
|| poetry-essay
This project is the result of a workshop On Propositional Listening - Practices of Discursive Relations by Jacob Eriksen:
“Listening is never listening alone. Listening is always a process of connecting with something. Derived from the grammatical function of the preposition, I propose prepositional listening as a method to widen the awareness of perspectives into different ways of listening. The listing is not exhaustive and might change completely through other languages.”
Part of my writings are tinged with mourning decompressions, and part of it is just me trying to make sense of my own relational experience through the act of listening.
07.25
“Listening is never listening alone. Listening is always a process of connecting with something. Derived from the grammatical function of the preposition, I propose prepositional listening as a method to widen the awareness of perspectives into different ways of listening. The listing is not exhaustive and might change completely through other languages.”
Part of my writings are tinged with mourning decompressions, and part of it is just me trying to make sense of my own relational experience through the act of listening.
07.25
body of work
Demilitarized Musik
Live performance for experimental radio show Remote Control at Cashmere Radio.
The performance proposal came after stumbling upon a couple of VHS cassettes in the streets, both are recordings of international military band concerts held in Cologne/Berlin, both from 2003.
i took two vhs players, opened them up to capture the motors’ electromagnetic field with a couple of inductors-from one, and to parasitically intervene the other with a tape player head, then i played them back and ranted on top about Costa Rica’s demilitarization history and the state as a construct while progressively filtering my voice and simultaneously filtering the VHS’ audio, sort of dissolving meaning altogether.
07.25
The performance proposal came after stumbling upon a couple of VHS cassettes in the streets, both are recordings of international military band concerts held in Cologne/Berlin, both from 2003.
i took two vhs players, opened them up to capture the motors’ electromagnetic field with a couple of inductors-from one, and to parasitically intervene the other with a tape player head, then i played them back and ranted on top about Costa Rica’s demilitarization history and the state as a construct while progressively filtering my voice and simultaneously filtering the VHS’ audio, sort of dissolving meaning altogether.
07.25
poster & photos
A Body from
Somewhere
Somewhere
A Body from Somewhere is a full-dome film by Loris Foti and Remipti that allows you to experience the failing memory of an unknown cyborg body coming back to life for a brief moment.
Zeiss-Großplanetarium Berlin: 23-metre-high dome, ZEISS VELVET video projectors, 49-speaker and 4-subwoofer sound system.
Synopsis:
Degraded flesh and bones mashed back with organic matter—a glimpse of a journey through hazy-impulse memories. Remains of a recalcitrant body, degraded to constituent components, now an ore carcass that belongs to a place, somewhere. As a current discharge bursts through, its cores implode into emulated sensations and emotions that were once input from its fibrous and aqueous vessel. Melancholy is only another feeling. Memory can be described as electric impulses summoned by willpower, sometimes impetuous, but sometimes fogged and fragmented. Yet, the clay that contour experiences eventually dilutes and pours back, ceasing to contain itself.
This was a collaboration project between Sound Studies and Sonic Arts UdK Berlin, DCM École Estienne, Stiftung Planetarium Berlin, and le Planétarium de la Cité des Sciences et de l’Industrie.
Supported by: InKüLe UdK Berlin, OFAJ/DFJW
12.24 - 04.25
Zeiss-Großplanetarium Berlin: 23-metre-high dome, ZEISS VELVET video projectors, 49-speaker and 4-subwoofer sound system.
Synopsis:
Degraded flesh and bones mashed back with organic matter—a glimpse of a journey through hazy-impulse memories. Remains of a recalcitrant body, degraded to constituent components, now an ore carcass that belongs to a place, somewhere. As a current discharge bursts through, its cores implode into emulated sensations and emotions that were once input from its fibrous and aqueous vessel. Melancholy is only another feeling. Memory can be described as electric impulses summoned by willpower, sometimes impetuous, but sometimes fogged and fragmented. Yet, the clay that contour experiences eventually dilutes and pours back, ceasing to contain itself.
This was a collaboration project between Sound Studies and Sonic Arts UdK Berlin, DCM École Estienne, Stiftung Planetarium Berlin, and le Planétarium de la Cité des Sciences et de l’Industrie.
Supported by: InKüLe UdK Berlin, OFAJ/DFJW
12.24 - 04.25
poster and photos : Katrin Scheidt
La Palmera que se Pensó
a sí Misma
&
Todo Pasa por Algo en Wisconsin
a sí Misma
&
Todo Pasa por Algo en Wisconsin
(The Palmtree that Thought About Itself
&
Everything Happens for a Reason in Wisconsin)
|| video-art installation
&
Everything Happens for a Reason in Wisconsin)
|| video-art installation
Sound (re) design, mixing & mastering.
In collaboration with Roger Muñoz.
“Que asco la naturaleza II (mater Lacrimarum)” is a video installation by Roger Muñoz composed of two videos from the series “Films transcendentales” (2017), in which strangeness and humor seek to destabilize the paradisiacal landscape to turn it into an uncomfortable and bizarre place.
"During a sunset at sea, a fascist man with delusions of grandeur and another frivolous man have a conversation about how they could eliminate all living things".
Presented in Bogotá during ArtBO fair under the coordination of dd.mm.aaaa.colless
10.22
In collaboration with Roger Muñoz.
“Que asco la naturaleza II (mater Lacrimarum)” is a video installation by Roger Muñoz composed of two videos from the series “Films transcendentales” (2017), in which strangeness and humor seek to destabilize the paradisiacal landscape to turn it into an uncomfortable and bizarre place.
"During a sunset at sea, a fascist man with delusions of grandeur and another frivolous man have a conversation about how they could eliminate all living things".
Presented in Bogotá during ArtBO fair under the coordination of dd.mm.aaaa.colless
10.22
stills & photos
How to Change Your
スクリーンセーバー
|| video-art installation / short film
(request password)
(request password)
Sound design, mixing & mastering commission.
By Sebastián Sagot, TV and Cinema Ba. (visual/digital artist, Veritas University).
It fits in the digital art format due to the way its contents are portrayed and intertwined. It has been screened in numerous short film and experimental film festivals in Latin America: Costa Rica, Perú, Colombia, and Mexico. It has also been screened in France and at the Diametrale Festival, Belgium.
12.21
By Sebastián Sagot, TV and Cinema Ba. (visual/digital artist, Veritas University).
It fits in the digital art format due to the way its contents are portrayed and intertwined. It has been screened in numerous short film and experimental film festivals in Latin America: Costa Rica, Perú, Colombia, and Mexico. It has also been screened in France and at the Diametrale Festival, Belgium.
12.21
stills
Soil Vivisection
Imaginary soundscape composition.
Spatialized sound installation for 8 speakers, 2 headphones, and subwoofer.
Soil vivisection is a sound installation that ponders upon the relentless exploitation of land, alluding to the incidences of the continuous transformation processes that land undertakes within cities. It also pursues to invoke reflection towards the relation between soil and people, and simultaneously to rethink about the need of a symbiotic approach to its use.
This piece is part of a collaboration project between the (Universität der Künste Berlin) sonic arts student Loris Foti and architecture students Max Rüfli and Bendix Feldstein, which is based on the rainwater retention basin of the former Tempelhof airport—now FloatingUniversity Berlin—as a model of the transformation phenomenon mentioned before.
Transitions from forests to human settlements, then to artificial ecosystems and rehabilitated cultural spaces where we now try to reintegrate ourselves with nature. Earth, soil, land, ground, in any of its dimensions and forms, has endured a series of extreme manipulations for human needs and ambitions; left eroded, sealed, polluted, uncovered and degraded afterwards.
Soil vivisection invites us to contemplate a sample of soil to reflect on the alienation we suffer from it—suggesting such detachment to be a byproduct of its exploitation—by placing a vivisection (of soil) in an art exhibition room, it directs towards a self-evidencing event. As a vivisection of a living creature, a vivisection of soil (which with its apparent innocuity carries a countless amount of living organisms and nutrients), insists on the analysis of it in itself, by simultaneously addressing the often detached practices of scientific research, and juxtaposing that with the intention of self-referencing our human capacity to repair and amend.
The field recordings where taken at FloatingUniversity Berlin and at the Berlin Botanical Garden with a geophone. The poem was written and recited by Loris. Presented from the 20-21st of July at Universität der Künste Berlin.
Poem:
In this place, this space.
It’s been billions of sculpting dances.
How hidden you’ve been,
crawling you’ve been, to reach out.
All this time.
Now, caretaker of all,
digger of reservoirs
that spit back at you
with dense roily death;
-a rage sign of mine, with nothing but pain.
You’re searching too deep,
searching for too long;
don’t look underneath,
to look back above.
07.24
Spatialized sound installation for 8 speakers, 2 headphones, and subwoofer.
Soil vivisection is a sound installation that ponders upon the relentless exploitation of land, alluding to the incidences of the continuous transformation processes that land undertakes within cities. It also pursues to invoke reflection towards the relation between soil and people, and simultaneously to rethink about the need of a symbiotic approach to its use.
This piece is part of a collaboration project between the (Universität der Künste Berlin) sonic arts student Loris Foti and architecture students Max Rüfli and Bendix Feldstein, which is based on the rainwater retention basin of the former Tempelhof airport—now FloatingUniversity Berlin—as a model of the transformation phenomenon mentioned before.
Transitions from forests to human settlements, then to artificial ecosystems and rehabilitated cultural spaces where we now try to reintegrate ourselves with nature. Earth, soil, land, ground, in any of its dimensions and forms, has endured a series of extreme manipulations for human needs and ambitions; left eroded, sealed, polluted, uncovered and degraded afterwards.
Soil vivisection invites us to contemplate a sample of soil to reflect on the alienation we suffer from it—suggesting such detachment to be a byproduct of its exploitation—by placing a vivisection (of soil) in an art exhibition room, it directs towards a self-evidencing event. As a vivisection of a living creature, a vivisection of soil (which with its apparent innocuity carries a countless amount of living organisms and nutrients), insists on the analysis of it in itself, by simultaneously addressing the often detached practices of scientific research, and juxtaposing that with the intention of self-referencing our human capacity to repair and amend.
The field recordings where taken at FloatingUniversity Berlin and at the Berlin Botanical Garden with a geophone. The poem was written and recited by Loris. Presented from the 20-21st of July at Universität der Künste Berlin.
Poem:
In this place, this space.
It’s been billions of sculpting dances.
How hidden you’ve been,
crawling you’ve been, to reach out.
All this time.
Now, caretaker of all,
digger of reservoirs
that spit back at you
with dense roily death;
-a rage sign of mine, with nothing but pain.
You’re searching too deep,
searching for too long;
don’t look underneath,
to look back above.
07.24
photo documentation
Mother Language
Sound System
Sound System
Umbral
(music project)
(music project)
Composition, recording, sound design & mixing.
The mixing of the album was distributed equally between OVSICORI and Umbral.
For Inferenza, I played and recorded a Cambodian 'tro' which was then processed. The whole concept of this track in particular, came through from a perception (optics) theory term called Unconscious Inference, coined by Hermann von Helmholtz. For the other two tracks, Succo and Fessura, I used field recordings and synthesizers respectively. Most of the album was recorded live.
07.23
The mixing of the album was distributed equally between OVSICORI and Umbral.
For Inferenza, I played and recorded a Cambodian 'tro' which was then processed. The whole concept of this track in particular, came through from a perception (optics) theory term called Unconscious Inference, coined by Hermann von Helmholtz. For the other two tracks, Succo and Fessura, I used field recordings and synthesizers respectively. Most of the album was recorded live.
07.23
cover : OVSICORI
Sound Portraits: Sabba in Disguise
|| video-art / sonomontage
WIP - will consist of a "video-sonomontage", given the fact that the video resulting from the piece is going to be a by-product of the final work in order to represent the full body of work.
The raw material to be utilized will be digital pictures taken back in 2011, with a point and shoot camera, from the concentration camp (now a National Museum) located at less than 1km away from my fathers childhood neighborhood, in Trieste, Italy.
The images will be processed and arranged into sound representations of the latter in order to be displayed as a moving picture sonomontage. The project involves important subjects like historical memory and sociopolitical critique. It aludes to the developmental trauma carried on by the experience of enduring WWII, and it's other numerous repercussions.
The raw material to be utilized will be digital pictures taken back in 2011, with a point and shoot camera, from the concentration camp (now a National Museum) located at less than 1km away from my fathers childhood neighborhood, in Trieste, Italy.
The images will be processed and arranged into sound representations of the latter in order to be displayed as a moving picture sonomontage. The project involves important subjects like historical memory and sociopolitical critique. It aludes to the developmental trauma carried on by the experience of enduring WWII, and it's other numerous repercussions.
photos & spectrographic images
Double Discourses
|| fixed media sound piece
stills
|| fixed media sound piece
stills
Composition, field recordings, sound design, mixing & mastering.
In this piece, I wanted to tackle two main subjects that mutually interpel the national reality in Costa Rica alongside climate change worldwide.
I start with an opening statement about the double discourse latent in the image of Costa Rica shown by the government through tourism attraction campaigns, depicting it as an ecological and biodiversity paradise. This starkly contrasts with the poor waste-disposal management and education provided to the entire population in this regard. Also, inviting us to ponder our relationship to the sounds we generate while we dispose of our own household residues. What goes through our bodies and minds? Does it provoke any particular feelings, sensations, or concerns?
The double discourse statement is reinforced throughout the second part, where I bring about the pineapple monoculture issues. This is carried out massively by a few transnational extractivist companies, which offer the product as a luxurious commodity to the rest of the world while exploiting land, water, and human labour. Leaving behind drastic unresolved health issues and heavy environmental collateral effects, of which scientific data can be found, along with the local population's testimonies, both are equally relevant.
The sounds come from recordings I made with my own collected trash and a few other objects. Some others are field recordings of: garbage trucks, from the inside of a plane, and from the soundscape of an African palm monoculture located at the Southern Area, in Quepos (the second largest monoculture in the country). The dialogues were taken from local news reports and short documentaries, as well as from an interview with workers in a pineapple monoculture from the Northern Area, in San Carlos; another one was taken from the tourism attraction campaign paid for by the government. Some were mixed with 90’s TV pineapple advertisements.
04.23
Redial
|| multi-channel reactive sound installation
Setup, installation, creator.
‘One day’ multi-channel, reactive sound installation at Studio dB (Berlin).
-5 speakers for inner circuit
-LM386 + 2 capacitors for LFO
-Sample corpus
-Ableton Live
Full title: ‘Redial; an interation from your call has been forwarded to an automated voice messaging system. My name is not available. At the tone, please record your message. When finished recording, you may hang up, or press 1 for more options.’
Concept: invitation to think about communication, interconnectedness, synchronicity/asynchrony.
System: A set of (4) smaller speakers (paired) with their chasis connected to the LM386 IC would reproduce an LFO on the central 12in speaker when each chassis of a pair was touched simultaneously (closing the circuit in the resistance position), with the body(ies) of the participants were symbolizing a connection within the system and among other possible participants simultaneously. Parallelly, the smaller speaker’s cones would trigger two set of digital audio systems: 1) the sample corpus when touched, reproducing it in the venue’s sound system. This sample corpus consisted of various recordings from the landlines voice messaging system -voices-; 2) a (3) oscillators synthesizer reproducing dial-up resembling sounds; both mapped to a series envelope followers.
05.25
‘One day’ multi-channel, reactive sound installation at Studio dB (Berlin).
-5 speakers for inner circuit
-LM386 + 2 capacitors for LFO
-Sample corpus
-Ableton Live
Full title: ‘Redial; an interation from your call has been forwarded to an automated voice messaging system. My name is not available. At the tone, please record your message. When finished recording, you may hang up, or press 1 for more options.’
Concept: invitation to think about communication, interconnectedness, synchronicity/asynchrony.
System: A set of (4) smaller speakers (paired) with their chasis connected to the LM386 IC would reproduce an LFO on the central 12in speaker when each chassis of a pair was touched simultaneously (closing the circuit in the resistance position), with the body(ies) of the participants were symbolizing a connection within the system and among other possible participants simultaneously. Parallelly, the smaller speaker’s cones would trigger two set of digital audio systems: 1) the sample corpus when touched, reproducing it in the venue’s sound system. This sample corpus consisted of various recordings from the landlines voice messaging system -voices-; 2) a (3) oscillators synthesizer reproducing dial-up resembling sounds; both mapped to a series envelope followers.
05.25
artwork: Ivana Khmelevsky
Recurrencias
(Recurrences)
|| soundscape composition
|| soundscape composition
Imaginary soundscape omposition, recording, design, mixing & mastering.
Results under the frame of a Soundscape Composition seminar by Dr. Otto Castro (Music Technology by UNAM, México), Composer, Researcher and Sound Artist.
10 selected pieces as part of a compilation and official livestream concert.
This composition is the process of a craft built out of field recordings made throughout a semester and a few more beforehand, all taken with a smartphone. It's a portrait in the form of an imaginary soundscape, of the places and non-places that I was inhabiting and transiting most frequently during those months.
As a result a sort of sound-journey emerges, exploring different acoustic principles and sound effects found in these particular places.
11.22
Results under the frame of a Soundscape Composition seminar by Dr. Otto Castro (Music Technology by UNAM, México), Composer, Researcher and Sound Artist.
10 selected pieces as part of a compilation and official livestream concert.
This composition is the process of a craft built out of field recordings made throughout a semester and a few more beforehand, all taken with a smartphone. It's a portrait in the form of an imaginary soundscape, of the places and non-places that I was inhabiting and transiting most frequently during those months.
As a result a sort of sound-journey emerges, exploring different acoustic principles and sound effects found in these particular places.
11.22
cover
Pulgateca
(Flea-library)
|| cultural platform
|| cultural platform
Collaborator, instructor, repairman.
The “Pulgateca” is an experimentation, arts&technology cultural platform focused on the reactivation and exchange of obsoletized resources and tools through a chain of autonomous nodes.
It actively promotes a shift in the current paradigm of our consume practices. It's efforts are directed to reduce the production of waste to tackle pollution and climate change. It’s headquarters are located in “Casa Canibal”, a residency from the “Casa Cultural de España” in S.J., Costa Rica.
Currently I'm co-managing the project with other colleagues. This includes: management, promotion and facilitation of “repairathons” (fair/workshops) which are activities dedicated to the repair of electronics, clothing, home appliances, bicycles, sound devices and instruments provided by the voluntarily collaboration of repair-people; electronics waste disposal management workshops; production and maintenance of a repair-people directory; and finally, the administration of the devices/tools/utilery library for public access and exchange.
I also offered my electric instruments repairing knowledge and experience to facilitate and motivate people in developing and continue their musical practices by acquiring basic repair and maintenance practices.
01-09.23
The “Pulgateca” is an experimentation, arts&technology cultural platform focused on the reactivation and exchange of obsoletized resources and tools through a chain of autonomous nodes.
It actively promotes a shift in the current paradigm of our consume practices. It's efforts are directed to reduce the production of waste to tackle pollution and climate change. It’s headquarters are located in “Casa Canibal”, a residency from the “Casa Cultural de España” in S.J., Costa Rica.
Currently I'm co-managing the project with other colleagues. This includes: management, promotion and facilitation of “repairathons” (fair/workshops) which are activities dedicated to the repair of electronics, clothing, home appliances, bicycles, sound devices and instruments provided by the voluntarily collaboration of repair-people; electronics waste disposal management workshops; production and maintenance of a repair-people directory; and finally, the administration of the devices/tools/utilery library for public access and exchange.
I also offered my electric instruments repairing knowledge and experience to facilitate and motivate people in developing and continue their musical practices by acquiring basic repair and maintenance practices.
01-09.23
events’ posters : Randal Sáenz
Inefable
(Ineffable)
|| uni-personal choreography
|| uni-personal choreography
Sound-edition and music-intervention performance.
In collaboration with Gabriel Rodríguez (contemporary dancer & performer) / Sofía Blanco.
These series of performances were live streamed during the pandemic. The project took place at 'Casa de la Cultura Popular Jose Figueres Ferrer', produced by 'En las Tablas'.
I used extended techniques over electric bass and filtered voice, alongside prepared audio tracks triggered from a drum pad.
06.20
In collaboration with Gabriel Rodríguez (contemporary dancer & performer) / Sofía Blanco.
These series of performances were live streamed during the pandemic. The project took place at 'Casa de la Cultura Popular Jose Figueres Ferrer', produced by 'En las Tablas'.
I used extended techniques over electric bass and filtered voice, alongside prepared audio tracks triggered from a drum pad.
06.20
photos
Nieve en la nariz
(Snow in the Nose)
|| experimental/noise composition
|| experimental/noise composition
Composition, recording & arrangement by Loris Foti & Kuo-Jam Chen.
In collaboration with ‘Piratas del Cosmos’ (artist/collective).
"Piratas del Cosmos has convened for the second time a game between visual and sound artists to develop a compilation of sound compositions/images that, like the previous 8-bit version, is a resemantization of the traditional elements of the popular culture time of Christmas. Each visual artist works together with their sound partners, after a random draw. (Working collaboratively between Costa Rica, France, New York, Perú, México and Guatemala). 15 compositions, 15 illustrations and 32 artists working under the same rules"
11.14
In collaboration with ‘Piratas del Cosmos’ (artist/collective).
"Piratas del Cosmos has convened for the second time a game between visual and sound artists to develop a compilation of sound compositions/images that, like the previous 8-bit version, is a resemantization of the traditional elements of the popular culture time of Christmas. Each visual artist works together with their sound partners, after a random draw. (Working collaboratively between Costa Rica, France, New York, Perú, México and Guatemala). 15 compositions, 15 illustrations and 32 artists working under the same rules"
11.14
album cover
