Room Resonance – Synthesis of Textures
Sound Art | Max/MSP | 4-channel experimental media installation (Empty Spaces Make Drones)

This work explores the thresholds between sound and silence, past and present, emergence and disappearance. The work focuses on the encounter of past and present actions, which simultaneously influence future perception. Through resonance experiments with long recordings of slow-motion repetitions within enclosed spaces (resonant drone structures), and the spatial properties of the environment, the installation transforms space itself into an instrument and subject, recording traces of action and absence.

Sound sources merge into a cohesive whole, gradually interfering and creating an infinite number of layers that blur the boundaries between original and emerging forms. A perceptible sound can be clear at one moment, then quickly dissolve into chaotic textures, while another already present form emerges. One sound may end as another begins, continuously shifting the listener’s perception of time and space.

The installation foregrounds listening as an embodied, phenomenological practice, inviting viewers to inhabit a space where perception unfolds across layers of time, interference, and resonance. Sound is experienced as a temporal and spatial medium, where presence, memory, and perception overlap. The space becomes both subject and record of action and absence, and the viewer’s attention and engagement shape the evolving sonic environment. By navigating the boundary between sound and silence, the work makes audible what is present and what is lost in reverberation and overlap, raising questions about how our perception of time and space may shift and transform.

                                      Exhumed, Resonance Experiments in Space

If something that goes forward (by the meaning of time and space) are going in backward form what does that mean then?

Is it going actually backward, is it stagnating or it’s going forward?