is a contribution to the Architecture and Culture Journal investigating the material and discursive claims made by the Bundesamt für Migration und Flüchtlinge about the workings of their dialect recognition software for undocumented asylum applicants.
is an experimental article for the ARTNODES Journal, rehearsing a method for an anarchic media archeology and largely based on my research on the DDR-era synthesizer “Subharchord” and its relation to contemporary voice recognition algorithms.
Drawing and 2-channel sound piece. Commissioned by Kunstverein Tiergarten/Galerie Nord Berlin and exhibited as part of “v01ces – Die menschliche Stimme im Zeitalter der Künstlichen Intelligenz.” Dimensions: 7×2,5 meters. Length: 6’57”, loop. Voice: Ece Canlı. This wall-sized drawing and sound piece present a non-linear, speculative historical framework juxtaposing the development of the Subharchord – a […]
four-channel sound, risograph print. Commissioned by the Kunstkommission Düsseldorf as part of “on damp earths we wander” at Lantz’scher Skulpturenpark. Length: 120 minutes. all these bordersI have carried them with me[…]in spaces betweenpostponed expired dates This work is largely based on my experiences with visa rejection and dealing with anxiety as a migrant in Germany. […]
two-channel sound sculpture; Subharchord I/II 1964 Prototype, Transducers. Commissioned by the Junge Akademie der Künste Berlin under the AI Anarchies program, and exhibited as part of Broken Machines & Wild Imaginings. Voice: Ece Canlı. Length: 7:23 minutes, loop. Text by Ayesha Hameed: When Pedro and I first talked about The Emotional Residue of an Unnatural […]
is a write-up and/or script for a performance-lecture on how to listen and think (with and against) the archive. Presented live a couple of times in 2020; now living as a book chapter in “Postcolonial Repercussions – On Sound Ontologies and Decolonised Listening,” published by Transcript Verlag.
8-channel Ambisonics sound installation. Commissioned by the Max-Planck Institute for Empirical Aesthetics. Based on “Balada do Filho Pródigo” (1989) by Elomar Figueira Mello, re-interpreted by Aimilia Varanaki. Length: 3:34. Text by Marie Thompson:“In There is a Point at Which Methods Devour Themselves, the listener encounters a voice singing of home, inflected with glitches and distortions. […]
Binaural sound essay, developed for Akademie Solitude/ZKM as part of their Web Residencies program. Awarded with a production grant at the HASH AWARD 2020 conceded by ZKM/Akademie Solitude on February 21st, 2020. All sounds recorded at EMS Stockholm between June and September 2019. Listen to the sound essay: http://meaninglesstexture.schloss-post.com A longer interview about the project […]
is an essay for the Transmediale Journal, in which I discuss “how the trivial and the familiar can be weaponized in order to trigger emotions, evoke dialects, and ultimately decide upon the course of lives.”