description

“Order of Sound” is an artwork, a work of New Media and generative art. Yet it is also an intervention in urban space, a precise commentary on architecture, and a statement on the audiovisual perception of nature, as well as on the potential transformation of this mediated perception into the design of built culture. The installation creates a bridge between art and science and makes it possible to render tangible phenomena that exceed the spectrum of immediate experience and conscious perception.

With the investigation of electromagnetic fields in the context of the exhibition in Łódź in 2015, “Order of Sound” entered a new phase of the work. What initially began as an experimental approach to the invisible frequency layers of space developed into a long-term research and work process that continues to this day. The work is concerned with the analysis and evaluation of electromagnetic fields generated by anthropogenic and natural phenomena. The information obtained is translated, through custom-developed hardware and software, into abstract architectural simulations generated in real time.

The point of departure lay in simple crystal detectors and long-wire antennas stretched through the space in order to receive electromagnetic signals from the immediate surroundings. Over the course of several months of investigation, this developed into an increasingly precise technical system: custom-conceived VLF receivers, independently developed and specifically adapted to the requirements of the project. At the same time, “Order of Sound” can be understood as a research instrument, a kind of machine that makes it possible to capture, translate, and preserve an individual electromagnetic “imprint” of different urban spaces.

What is decisive here is not the mere measurement of an invisible field, but its transformation into an aesthetic, spatial, and architectural operation. Space no longer appears as a silent shell, but as an irradiated, coded, and interference-prone milieu, traversed by signals, noise, and impulses.

Furthermore, the installation contributes to the audification and visualization of the environmental burden placed on the critical zone by invisible electromagnetic waves, whose origins can be traced, among other things, to the continuous expansion of infrastructures and to the pronounced tendencies toward the densification of urban environments. It opens a view onto a world not yet explored, a metaphorical wormhole passage to a parallel universe that observes and interrogates our perceptions, emotions, democratic processes, and technological infrastructures.