Articles
Sympoietic Being
Sympoietic Being is an immersive audiovisual project exploring sound and visual communication within a 3D space, integrating Unreal Engine 5, MaxMSP, and Ambisonics to create a hypernatural environment for full-dome projection. Developed by Vicente Yáñez Fuenzalida and Arthur Wardenski, the work navigates themes of posthumanism, relational aesthetics, and ecological interconnectivity, inspired by Nicolas Bourriaud’s molecular anthropology and Robert Morris’s mirror sculptures. Through intricate workflows involving OSC data, ADM files, and spatial sound design, the project transforms a crystal’s journey through a hyperdimensional cave into a multisensory experience. The work was premiered on December 2024 at ZeissGroßplanetarium Berlin and later screened at Cité des Sciences Paris.
A version of this article has been published on the IRCAM Forum (click here).
Sympoietic Being is an immersive audiovisual project exploring sound and visual communication within a 3D space, integrating Unreal Engine 5, MaxMSP, and Ambisonics to create a hypernatural environment for full-dome projection. Developed by Vicente Yáñez Fuenzalida and Arthur Wardenski, the work navigates themes of posthumanism, relational aesthetics, and ecological interconnectivity, inspired by Nicolas Bourriaud’s molecular anthropology and Robert Morris’s mirror sculptures. Through intricate workflows involving OSC data, ADM files, and spatial sound design, the project transforms a crystal’s journey through a hyperdimensional cave into a multisensory experience. The work was premiered on December 2024 at ZeissGroßplanetarium Berlin and later screened at Cité des Sciences Paris.
A version of this article has been published on the IRCAM Forum (click here).
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The Altrememorie residency, hosted by Le(Serre (Udine, IT) and PiNA (Koper, SI), was a three-week exploration of urban sound, immersive audio, and artistic research. With full creative freedom, the project centered on site-specific sonic investigations, using Ambisonic field recordings and spatial synthesis to capture and reinterpret the acoustic essence of Koper and Udine. Through methodical soundwalking, impulse response recordings, and machine learning classification of spectral features, the residency evolved into an interactive sound installation. The final work, blending real-world recordings with algorithmically processed spatial FM synthesis, was presented in Koper, highlighting the tension between natural soundscapes and artificial sonic structures. The experience not only pushed the boundaries of immersive audio composition but also opened new research avenues in sound classification and spatialization.
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Photo by Chiara Bassi
What can be said of global ecological crisis that hasn’t been said already?
The question comes to mind when approaching an art piece that endeavors to address the topic and that, almost half of the time, turns out to be a patronizing bedtime story on how to use less resources and be aware of the waste that we produce. Will this paper be part of the endless cue of digital content spread into the universe that on the subject? Maybe it is. So, I’ll use the opportunity to study the maIer more in-depth, as a musical étude, perhaps in an also extractive attempt for further reach into my own artistic practice.
The reading that I’ll use as frame of reference is Nicolas Bourriaud’s Inclusions: Aesthetics in the Capitalocene. I believe that this book opens up several paths for research and ties up ecological matters with aesthetics, traversing artistic practices of the twentieth and twenty first century, in order to access a critical standpoint without pledging allegiance to a certain philosophical current.
The idea is to delve into art (or at least analyze contemporary practices), but first, I’ll review some political and anthropological subjects to give some groundwork for further artistic analysis.
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Photo by Pablo O’Ryan