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I'm a quote: In the early light of a May dawn this is what the living room of my apartment looks like: Over the white marble and granite gas-log fireplace hangs an original David Onica. It’s a six-foot-by-four-foot portrait of a naked woman, mostly done in muted grays and olives,

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We reimagine DNK ensemble’s 2017 ‘Simultaneous / Synchronous (Song)’ with synthetic voice and non-pitched sounds layered across a range of playback devices, taking inspiration from its forming of relations, auditory masking as well as the structural repetition of re-starting and re-shifting.

Performance that layers soil recordings and demagnetised tape interventions. Several cassette tapes, containing white noise and unrecorded sections were buried in different soil compositions for one week, then unearthed and reassembled in their original casings. As in Part I, the recordings and cassette tapes were played through a constellation of self-made foil speakers, small speaker cones, Bluetooth devices and portable cassette players.

Performance combining recordings of beamed white noise and sine waves emitted by ultrasonic speakers, recorded at varying distances and disrupted by raindrops.

Performance at the Institute of Sonology’s April 2025 Discussion Concert.

In this performance we reproduced various audio recordings made with solar cells. Mirrors mounted in the soil or on tree branches transduced vibrations into small fluctuations in the intensity of reflected sunlight that were picked up by the cells. The recordings were played through a range of devices, including lasers, small speaker cones, exciters, and Bluetooth speakers. The lasers were connected to a small MP3 player and the beam was modulated at the frequency of the audio signal. The beams were directed onto solar cells attached to self-built speaker boxes, which turned the fluctuating light into sound.

Performance that layers various digital recordings and demagnetised tape interventions developed during a week at Sopo, Portugal. The recordings were performed in a forest area across different recording arrangements, including piezo probes inserted into the soil as well as low-noise electret capsules. Several blank cassette tapes and others containing field recordings, white noise and sine tones were buried in direct contact with the soil for a week, then unearthed and reassembled into their casings. The recordings and cassette tapes where played through a constellation of self-made foil speakers, small speaker cones, bluetooth devices and portable cassette players.

Performance that combines wooden idiophones excited by small vibration motors, and various plant, soil and insect recordings from the Meijendel area in The Hague (NL). The recordings were performed in a number of recording arrangements, including modified piezo elements inserted into the soil and patches of moss, geophones attached to tree cracks and microphone capsules placed inside tree cavities. These recordings were transduced by wireless exciters and bluetooth speakers through wood and cardboard materials in various settings.