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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

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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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 Hans Ulrich Obrist 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.

Salió un nuevo remix para @paulmarmota en mi SoundCloud

Salió un nuevo remix para @paulmarmota en mi SoundCloud

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

We closed the first edition of Signal Cultures Festival with a special evening at New Fears Gallery, presenting Assembly of Attractors by @interspecifics. It was a pleasure to have Alejandro Marra contributing with analog motorized projections, and the addition of Pablo @bungalovv to the live performance, bringing new layers to the experience.

Thank you to everyone who joined us throughout these three chapters and helped shape this first edition. We close the festival with gratitude and look forward to seeing you all again soon.

Pictures by @mi_fii
@musikfonds.de
@newfears_gallery

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

#wip #instrumets

We took the mathematics of strange attractors and turn them into an instrument based on dynamics and topologies. Very soon we’ll be sharing a new piece / instrument as part of Sonic Inclusion 2026 at @newfears_gallery in Berlin @sonicinclusion @musikfonds.de

Assembly of Attractors

In this installation, the Sonic Machines: attractor system functions as the main generative engine. Four autonomous systems run simultaneously, each with its own internal dynamics, and their voices progressively accumulate, forming an emergent and continuously evolving composition. The work unfolds through the interaction and superposition of these systems, producing a sonic landscape shaped by self-organization and resonance.

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.

Parte de los procesos de estudios rítmicos en los que he estado trabajando estos años, involucran la relación que tienen ritmos como el tresillo cubano, la cueca, el swing tumbao, de latinoamérica con ritmos como el Khafif-e-ramal Persa o el patrón Nawakhat Arabe, por mencionar algunos. Y la forma en que esto patrones se han  transferido a los ritmos urbanos contemporáneos. Lo interesante es que detrás de estas lógicas se encuentran  los ritmos euclidianos y los algoritmos Bjorklund (  quienes me conocen saben que llevo años obsesionada con este tema). Presentes en casi todas las músicas tradicionales del mundo. Una de las aproximaciones que he estado utilizando para generar ritmos es partir de crear instrumentos que me permiten modificar los patrones al vuelo, ya sea en máquinas y como en este caso usándose con software, grabar y componer a partir de ellos. En el video un pequeño ejercicio usando un pad de 64 posiciones con 8 voces, cada una con sus propio número de pasos, eventos y rotación.

[x . x . .] = (23) (ritmos persas).
[x . x . x . .] = (223) (ritmos de Bulgaria).
[x . x . x . x . .] = (2223) (ritmos de Turquía).
[x . x . x . x . x . .] = (22223) (patron classico).
[x . . x . . x . . x . . x . . . .] = (33334) (Patron Brasileño).

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.

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

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