tekst

Sound is promiscuous. It exists as a network that teaches us how to belong, to find place, to attune to others, as well as how not to belong, to drift, to figure acts of dislocation, and to dwell within experiences of rupture.

The dynamic of auditory knowledge provides then a key opportunity for moving through the contemporary by creating shared spaces that belong to no single public and yet which impart a feeling for intimacy: sound is always already mine and not mine—I cannot hold it for long, nor can I arrest all its itinerant energy.

Sound Stories suggests the intensity and grace with which sound may create a relational space, a meeting point, diffuse and yet pointed.

that sound stories  gives to us a deeply powerful stimulus that is equally evanescent, passing—which opens up to a highly suggestive horizon for my own auditory journey,



Sound Storie is an audible experience of the mobile formlessness and unlimited materiality of sound.


When creating sound we creating reality together. Listening and creating sound gives way to “micro-epistemologies", opening up to specific ways of knowing the world.


Sound explicitly brings bodies together. It forces us to come out, in lyrical,  and beautiful ways, creating connective moments and deepening the sense for both the present and the distant, the real and the mediated.





—this present that sound is always animating—while connecting to the dynamics of mediation, displacement, and virtuality—these sounds that press onto the body while always already relating us to the unseen, the ephemeral, and the reproduced.


I’ve come to hear sound as a movement that gives us each other, as both gift and threat, as generosity and agitation, as laughter and tears, marking listening as a highly provocative and relational sense.

Sound explicitly brings bodies together. It forces us to come out, in lyrical,  and beautiful ways, creating connective moments and deepening the sense for both the present and the distant, the real and the mediated.



Sound exists as a network that teaches us how to belong, to find place, to attune to others, as well as how not to belong.




to drift, and to dwell within experiences of rupture without discrimination. Auditory knowledge is based on empathy and divergence, allowing for careful understanding and deep involvement in the present.


Sound explicitly brings bodies together. It forces us to come out, in lyrical,  and beautiful ways, creating connective moments and deepening the sense for both the present and the distant, the real and the mediated.


he dynamic of auditory knowledge provides then a key opportunity for moving through the contemporary by creating shared spaces that belong to no single public and yet which impart a feeling for intimacy: sound is always already mine and not mine—I cannot hold it for long, nor can I arrest all its itinerant energy.






Listening and creating sound gives way to “micro-epistemologies", opening up to specific ways of knowing the world.

I’ve come to hear sound as a movement that gives us each other, as both gift and threat, as generosity and agitation, as laughter and tears, marking listening as a highly provocative and relational sense.

The listener is left with a hymn to the outposts of our ears.

My work explores the relationship between multiculturalism and recycling culture. With influences as diverse as Camus and John Lennon, new synergies are manufactured from both mundane and transcendant layers.

Ever since I was a postgraduate I have been fascinated by the unrelenting divergence of the human condition. What starts out as yearning soon becomes corrupted into a cacophony of lust, leaving only a sense of what could have been and the chance of a new order.

As shifting replicas become transformed through boundaried and diverse practice, the viewer is left with an insight into the inaccuracies of our world.


Ever since I was a child I have been fascinated by the ephemeral nature of the universe.


In all seriousness, one could actually use Sound Storie as a jumping-off point for your own artist’s creativity and adapt it into your own language and tone. Or it could inspire you to make something new. Reading this, I start imagining how to make fictional cities fueled by my love of mystery and science fiction.


By exploring the concept of landscape in a nostalgic way, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.


Sound Stories bring the listener into truly uncharted acoustic territory.



have sought to explore in detail the particular behavior or figures of sound. It is my view that sonic materiality gives way to “micro-epistemologies,” with echo, vibration and rhythm, for instance, opening up to specific ways of knowing the world.


I’ve come to hear sound as a movement that gives us each other, as both gift and threat, as generosity and agitation, as laughter and tears, marking listening as a highly provocative and relational sense.

Sound explicitly brings bodies together. It forces us to come out, in lyrical,  and beautiful ways, creating connective moments and deepening the sense for both the present and the distant, the real and the mediated.


Acoustic space creates itself in time, for “auditory space has no point of favored focus. It’s a sphere without fixed boundaries, space made by the thing itself, not space containing a thing.


Acoustic Territories aims to lend to this field of research, following the sonic self as a special figure embedded within a sphere of cultural and social habits, what Richard Cullen Rath calls “soundways,” or the ways people come to express their relation to sound and its circulation.

Sounds are associated with their original source, while also becoming their own thing, separate and constantly blending with other sounds, thereby continually moving in and out of focus and clarity.








Auditory knowledge is a radical epistemological construct that unfolds as a spatio-temporal event: sound opens up a field of interaction to become a channel, a fluid, a flux of voice and urgency, of play and drama, mutuality and sharing, to ultimately carve out a micro-geography of the moment, the instant of hearing, while always already disappearing as a distributive and sensitive propagation.

The seemingly innocent trajectory of sound as it moves from its source and toward a listener, without forgetting all the surfaces, bodies, and other sounds it brushes against, is a story imparting a great deal of information fully charged with geographic, social, psychological, and emotional energy. My feeling is that an entire history and culture can be found within a single sound; from its source to its destination sound is generative of a diverse range of experiences, as well as remaining specifically tied to a given context, as a deeper expressive and prolonged figure of culture.






with sound culture, voice, and questions of agency.....



With Sound Stories I have reached the end of a chapter.  Sound composing has been my companion and my mirror for so long and now I'm turning the page.


It is my view that sonic materiality gives way to “micro-epistemologies,” with echo, vibration and rhythm, for instance, opening up to specific ways of knowing the world.