Compressed memory explores the fragility of human perception and data memory through digital sound compression. Like most lossy compression formats, MP3 utilizes psychoacoustic principles—taking advantage of how the human ear perceives sound. It recognizes that we can only distinguish between different tones if there's a sufficient pitch difference, and that softer sounds often go unheard immediately before or after a loud noise. Thus MP3 compression retains only the audio components that we can seemingly perceive.

In this installation, an a cappella version of Suzanne Vega's Tom's Diner undergoes an extreme compression process. A Python script re-encodes the track in an endless feedback loop over the entire exhibition period, progressively degrading the audio quality. Only the difference between the compressed version and the original track is played back through headphones, creating an eerie, procedural transformation where listeners hear only the parts the algorithm typically removes, sounds we're conditioned not to notice.

In "auditory schism", a concentric multichannel loudspeaker system is located in a room and projects algorithmically generated sounds to investigate reflection behavior. The alternation between pulsating sounds, which provide a high degree of directional information, and stationary sinusoidal sounds, which are hard to localize, creates a dissociative and subjective experience, interpreting hearing as material.

Hearing is never complete and varies from person to person. The relationship to space is central, encompassing both architectural and introspective dimensions. Every hearing occurs somewhere and in relation to something. If we all hear differently, what makes hearing a shared experience? Where are the intersections and differences in this supposedly collaboratively constructed agreement?

Four radio links are set up in the room, each directly connected to a speaker. These radio links are then internally looped, creating four feedback loops distributed throughout the space.

A jammer disrupts the different frequency bands on which the feedback loops operate. Depending on the position in relation to the radio feedback loop, different disturbances occur in the frequency spectrum, which are then inscribed into the audible feedback loop.

By selecting the frequency band and adjusting the density of the disturbance, the sound in the room can be manipulated solely through the jammer. The entire sound is generated purely through the radio link transmission and its disruption, exploring the sonic materiality of such faulty and delicate systems.

In System_481b / follow, which was created for the Cauliflower Sound Festival in the Prospekthof of the Academy of Fine Arts Vienna in cooperation with the Acousmatic Projects Acousmonium, actors meet in a common organism whose vitality can only be experienced through the interaction of the participants . An abstract carpet of sound surrounds three platforms illuminated from above, on which the smallest amounts of shiny pink mica slate, matt black charcoal and grey-green mushroom spores are presented in large glasses. When visitors approach these platforms, their steps trigger crackling noises in the immediate vicinity and, with a delay, throughout the room. Depending on where the visitors are and in which direction they are moving, the sound will also move. Something seems to react to them, to watch them, to follow them - but always from a safe distance. It is impos- sible to approach the sounds themselves. Likewise, it is not possible to remain unseen. The reaction to your own footsteps seems to spread through the room like wildfire.

Audio recordings from the rainforests were collected over several years and resynthesized and abstracted for the installation. The resulting sound levels are controlled live and automatically in a generative program that is visible as part of the installation. The steps of the visitors* are perceived by 8 contact microphones on the underside of the floor and sent to the program as a trigger and pro- cessed. Following a proprietary algorithm, this then generates a reaction as noise in the room.