Drift Choir: Listening between four spaces
This 40-minute composition was formed from thirty days of continuous, multi-camera and microphone recordings across four sites — Juan’s studio in Bogotá, Stellage in Athens, Liebig 12 in Berlin, and Various Artists in New York City — and was live-processed and mixed at EMS in Stockholm during my residency there this past June.
Structured in five movements (Conversations, Disintegrations, Polyphony, Clocks, and Silences), the work explores modes of listening in-between: where voices drift and overlap, where interference and transmission errors become part of the texture, and where silence is charged with the presence of what is barely heard. It is less about achieving clarity or precision than about attunement — to one another, to place, and to the fragile thresholds between sound and its disappearance.
The piece is proposed as an 8-channel sound and sculptural video installation, as well as in binaural and stereo mixes. At EMS, I live-processed the 24/7 recorded material, working with central variables of time, frequency, and resonance. Some movements remain closer to raw recordings — Conversations, for instance, uses minimal EQ. Others expand into more layered processing: Disintegrations and Polyphony were shaped with a Studer tape machine, reel-to-reel time shifts, analog frequency modulation, and a SC-3A spring reverb. In Clocks, I used found percussive elements, including recorded clocks, and brought these unstable rhythms into the Buchla 200, interpreting the sustain and collapse of timing. Silences draws on moments when spaces were closed, power was off, or people were absent, amplifying nearly inaudible sounds through analog modulation.
Sessions were modeled as exhibitions at:
Various Artists, New York City, US
With programming at :
Juan’s Studio, Bogota, Colombia