Flowers in my Head

Sound installation / performance
sound-induced mind-altering meditative experience through a unique arrangement of Vibrating Geometries - Hangar, Barcelona 2013

Software: MAX/MSP, Ableton Live 9

This is a multi-source sound installation featuring psychoacoustic principles. A live performance of short-duration sound waves executed over two circles of speakers is intended to directly shift people’s perception of space and movement within the listening area.

This piece is inspired from the movements of a flower in bloom.

The sound that revolves around these rings impulses movement through them. Physically, the sound pushes air around the two rings of speakers. As these two forces combine together with the specifically chosen sound frequencies, the air current consequently becomes a SPIRAL.

The psychological perception of this movement of air incites the same experience to be had in by being in the center of a five-petal flower blooming.

work environment

work environment

Biomimicry. Generative sound art. Living sound geometric shapes.
My generative work deals with understanding biological and physiological patterns and translating them into new media and electronic art, thus to bring them closer to a first-hand experience.

Growth patterns are the focus of my research. I am interested in comparing artificial, capitalistic, growth versus organic (naturally occurring) patterns of growth that follow universal physics. The major point of study addresses their use of resources.

Organic growth and development uses a fine network of self-renewability, which makes it sustainable over time. Whereas capitalistic growth and development is intrinsically unsustainable with the trends of absorbing and not replenishing resources on time thus creating crashes in its graphs.

It is easily possible to place these trends visually on graphs, and at the same time it is also possible to translate these numbers into patterns of flow and sound – which is my primary work material. Sound is a powerful carrier of information as it physically touches the tactile sense. The construction of my ‘living sound geometries’ addresses exactly that: a translation of data into a first-hand sensory experience of raw information.