The project begins with the insight that each element contained within the audiovisual sculpture can become a container itself, and vice versa. Adopting a phenomenological approach, the various constituents of the sculpture were first classified based on their material characteristics to identify points of convergence and divergence and to foster stronger interdependencies among them.

The metal sculptures, with their wire mesh texture, evoke an absent materiality that allows the viewer to see through them, presenting tangible forms with ethereal qualities, while preserving their monolithic character. This duality seamlessly integrates with the video projections. The sculptures become extensions of the video, while their shadows in turn extend the sculptures themselves, magnifying their physicality. Light and shadow merge, becoming indistinguishable from their sources and creating a natural continuation of the artworks. These shadows amplify the sculptures’ spatial presence as traces of matter, and the movement of light animates them, generating perspective distortions that transform the sculptures into dynamic performers.

Transparency and concreteness interchange fluidly, where what is concrete can become transparent and vice versa. The videos offer a visual narrative oscillating between cinema and computer graphics, beginning with distant, deconstructed digital landscapes and indefinite spaces, then moving closer to digital architectures and dismantled buildings. In this context, the process of visual fragmentation and deconstruction is closely connected to the concept of glitch, which not only informs the narrative but is also employed as the main aesthetic and conceptual sound element.

A central focus of the project was to rethink sound not as something ethereal, but as a tangible material entity. Although this perspective may seem unconventional, it is supported by contextualizing sound through elements such as clicks and noises, which help to activate our spatial orientation and enhance the perception of sound’s materiality.
Michel Chion’s concept of the sound object, understood as a perceptual whole that remains consistent across different listenings, underpins the idea that sound possesses objective material value. This notion aligns with Pierre Schaeffer’s efforts to reveal the concreteness of auditory experience beyond its semantic or representational aspects, and it resonates with phenomenological insights from Martin Heidegger and Gilbert Simondon, who embrace sound as a “thing” in its own right. While the concreteness of sound often reflects its mimetic, representational nature, this project highlights its material potential, creating forms through the interplay of sculpture as body, signals, and ideas. By considering sound within its immediate phenomenological context, a more material perception emerges.

Formally, the work is structured in two main sections, each composed of four scenes that unfold with varying degrees of transition, ranging from abrupt cuts to fluid passages. The first section features visual content predominantly made up of landscape imagery, which serves as the basis for sound generation through an audio synthesis technique known as scanline synthesis. This method converts pixel values from images into audio waveforms, effectively translating visual data into sound in a process of image sonification.
In contrast, the second section focuses on deconstructed architectural elements derived from photogrammetry, such as floor plans and structural skeletons. Here, the sound is produced through chaotic generators, deterministic systems that are highly sensitive to initial conditions, whose variables, in the context of this project, evolve according to the pixel values of the video. This tight interdependence ensures that sound is generated directly from the visual content, avoiding arbitrary synchronization and reinforcing the intrinsic connection between image and sound.