SONIC THINKING
Curated by Diego Moscoso
In the last few years Diego Moscoso have continuously organized several concerts with an interest in artists that within a sphere of experimental music feed on elements of sound art as well as musical <br />elements as tools to develop their different artistic proposals. This combination allows a double entrance door, which therefore generates a more generous space for a possible audience. <br />Artistic depth is also a criterion taken into account in this curatorial proposal. The selected artists use experimental music/sound art as a means to develop concepts or ideas. The orientation of the proposal is varied and diverse. But the premise is the same: Sound as medium of thinking. From the relationship to ancient music either coming from the East (Tuce Alba) or West (Simon Herody), thinking the landscape with field recordings and instruments (Berenice Llorens) or with sound/performatic installations (Pablo Torres Gomez), artificial intelligence and neurobiology (Moises Horta) among others.</p>
In the last few years Diego Moscoso have continuously organized several concerts with an interest in artists that within a sphere of experimental music feed on elements of sound art as well as musical
elements as tools to develop their different artistic proposals. This combination allows a double entrance door, which therefore generates a more generous space for a possible audience.
Artistic depth is also a criterion taken into account in this curatorial proposal. The selected artists use experimental music/sound art as a means to develop concepts or ideas. The orientation of the proposal is varied and diverse. But the premise is the same: Sound as medium of thinking. From the relationship to ancient music either coming from the East (Tuce Alba) or West (Simon Herody), thinking the landscape with field recordings and instruments (Berenice Llorens) or with sound/performatic installations (Pablo Torres Gomez), artificial intelligence and neurobiology (Moises Horta) among others.
Nov 30th 2025: thinking through sound:The inner self Julia Witas and Abigail Toll
Abigail Toll. (UK)
“Idol” is composer and sound artist Abigail Toll’s second album. It responds to an encounter
with The Hypogeum in Malta: a former burial site designed by neolithic architects to honor
the natural world. After sitting in silence for thousands of years, the site was excavated in the
twentieth century. Its elliptical chambers, goddess statues, domes and corridors were
unearthed along with a deep echo which is said to affect physiological sensations on the
body. Archaeologist Reuben Grima says that when voices sound the temple’s resonant
frequencies together, powerful sonic reflections strike a “cosmological gateway through the
boundaries of the underworld, into the realm of the dead.”
Beginning with the temple’s resonant frequencies and reverb, Toll composes a
multidimensional sonic environment that melts tuned glasses, voice, organic objects and
electronics. The record conveys the transcendental nature of neolithic temples as the
original sites for immersive, otherworldly experiences, in which the residues of communal
activity linger as embodied memories.
Julia Wittas (AT/USA)
Julia Witas is a Berlin based multidisciplinary artist, vocalist and performing musician.
Through photography, film, installation and sound, she explores topics such as grief, death,
nature, symbolism and dream experiences. With an intuitive and experimental approach, she
utilizes dynamic vocals, field recordings and multi-instrumental, atmospheric soundscapes to
create sonic compositions that fluctuate between devouring, dark distortion and floating,
poetic fragility.
Vision of Water by Julia Witas was performed live on the 3rd of November 2022 as part of
the „BestOFF 2022“ exhibition at the University of Arts Linz. Dream experiences and
personal confrontations with identity, sexuality and death are translated into layers of
repetitive, multi-instrumental, atmospheric soundscapes and metaphorical texts, in which the
border between illusion and reality becomes blurred. Performed in a multichannel sound
installation and submerged in fog, Vision of Water is a ritualistic, immersive experience.
Past dates:
Nov 16th 2025: thinking through sound: Tradition Simon Herody and Tuce Alba
Tuce Alba (TK)
Tuce Alba (1996, Turkiye) is an architect, musician, and sound artist based in Berlin. She
uses various elements to create performative temporal experiences through sound. Her
works explore the textural details created by the relationship of sound and space, improvised
spatial compositional structures based on time. As an experienced “ney” player, she also
conducts acoustic research on manipulating the limitations of traditional instruments.
In live performances, she constructs raw, heavy noise, distortion, deep bass, and feedback.
Inspired by brutalist structures, she treats sound as a solid form, breaking and reshaping it in
real time. No melody, no softness, just pure, physical energy. Each set is an exploration of
sound as material, meant to be felt as much as heard. For those who seek intensity, weight,
and the physical impact of sound.
The Ney, an instrument traditionally associated with certain images and ideologies, is
reworked, stretched and distorted – its breath is fragmented, resynthesized, resynthesized
and transformed into a new form that challenges tradition but is still connected to it. The
approach is not about preserving or tradition or making it authentic, but about exploring the
fluid nature of sound. It rejects the rigidity of cultural hierarchies and fixed notions. Instead, it
examines flexibility, uncertainty and the physical nature of the sound. Through such a study,
this performance opens up a space where the potential of sound for transformation and to
reshape our perceptions is put at the centre.
A breathing becomes vibration, the vibration becomes distortion. This performance
examines the tradition – not as a fixed size, but as part of a sustained, evolving process in
which the collision between ancient resonance and modern sound brutality is explored. By
erasing the boundaries between cultural heritage and contemporary noise, a space is
created where these elements coexist and reshape each other.
Simon Herody (FR)
Simon Herody, born in 1996, is a French musician and sound artist who loves exploring the connections between landscapes, memories and improvisation. He studied at the Villa Arson School of Fine Arts in Nice and has turned sound into a social and sculptural medium, always keeping space and community in close mind. Simon never formally studied music and never intended to. Completely self-taught, he started playing a plastic clarinet at the age of 20 without any thought of making music. He quickly got hooked and began experimenting with any instrument he could get his hands on: saxophone, accordion, piano, etc. He discovered electronic music composition in 2020 when he moved to Berlin and started recording on tape and cassettes making devotional instictive electro-acoustic ambient. In his compositions and performances, Simon mixes saxophone, flute, and piano, drawing inspiration from meditative and spiritual jazz while blending in various other influences. Improvisation is a big part of his process, helping him create immersive pieces where active listening and spontaneity change how we perceive time and space.
“Lamina Aura” Lamina Aura is an electroacoustic project by French composer Simon Herody, centered around a 1940s pedal harmonium. Blending ambient textures, sustained drones, and harmonic overtones, the project offers an immersive experience of slow listening where sound is not a narrative, but an environment. It becomes presence, architecture, and breath in motion. At its core is a tactile and spatial approach to sound: the harmonium is activated by foot-operated bellows, producing evolving tonal layers shaped by physical effort, resonance, and room acoustics. Subtle vocal gestures or electronics may appear, but always in dialogue with the space. Each performance becomes a site-sensitive unfolding, where the room is not a container, but a co-instrument.Nov 2nd 2025: thinking through sound: Archive and AI Alejandra Borea and Moises Horta
Alejandra Borea (PE)
Lima, 1993. Berlin-based musician, sound artist, and researcher with a master’s in philosophy, specializing in the phenomenology of listening and sound studies. She writes about music and sound for various academic and non-academic cultural platforms and is actively involved in Berlin’s music scene. Since launching her solo project in 2020, she has released three EPs that explore sound archives of obsolete communication technologies and their post-memorial resonances in the digital realm. Her work has been presented as fixed media pieces at radio festivals across the Americas and Europe, as well as in installations in Lima, Berlin, and New Hampshire. She currently runs the radio station of the independent
publisher Consuelo Press and works as an independent researcher.
Performance Description
Tocar lo sensible This performance blends spoken word with minimalist percussion and metronomic rhythms to explore touch, time, and presence. The text unfolds in three parts, shifting from the force of the strike to the intimacy of contact. Sound becomes a means of thinking: each beat a gesture, each silence a possibility. By the end, the piece suggests another way of listening (through the fingertips, beyond possession). A quiet, thoughtful meditation on the tactile life of things.
Moisés Horta Valenzuela (MX)
Moisés Horta Valenzuela (1988, he/him) is an autodidact sound artist, technologist and
electronic musician from Tijuana, México, working in the fields of computer music, Artificial
Intelligence and the history and politics of emerging digital technologies. As , he crafts an
uncanny link between ancient and state-of-the-art sound technologies channeled through a
critical decolonial theory lens in the context of contemporary electronic music and the sonic
arts. His work has been presented in Ars Electronica, MUTEK México, Transart Festival,
MUTEK: AI Art Lab Montréal, Elektron Musik Studion, CTM Festival: Music Makers Hacklab,
among others. He is currently an artist in residence at Factory Berlin where he works on new
compositions and sound art installations using machine learning while pursuing a Masters
degree in Sound Studies and Sonic arts at the University of Arts Berlin.
Description of the performance
The project takes its name, SEMILLA AI, from the word “seed,” drawing a poetic parallel
between the Deep Learning practice of using “seeds” (integer numbers to generate
pseudo-random numbers) and the Mesoamerican Mixe ancient-contemporary divination
practice known as “Mook pajk wëjwë”. In this context, “Mook” signifies maize, “pajk” refers to
a seed, and “wëjwë (or wëjpë)” means to divine (Rojas, 2016). The divinatory practice
serves as an interface to inject real-world randomness into the process of synthesizing new
sounds using neural networks for sound synthesis. The SEMILLA AI instrument employs
computer vision techniques to translate the coordinates of the thrown maize in the
“world-space” interface and utilizes knobs to scale their values. The synthesis engine runs
on a GPU-powered micro-computer, a Jetson Nano, enabling real-time audio inference. This
neural audio synthesis engine is based on the open-source architecture called ‘RAVE:
Realtime Variational Autoencoder’ developed by Antoine Caillon at acids-IRCAM. It adopts a
‘decoder-only’ approach, where the coordinates of the maize captured by the computer
vision module are directly mapped into the ‘latent space,’ with each seed kernel
corresponding to a specific ‘dimension’ in the VAE’s decoder.
Oct 19th 2025: thinking through sound: Landscape Pablo Torres and Berenice Llorens
Pablo Torres Gomez (COL)
Pablo torres gómez is a sound artist and researcher whose practice engages with multiple temporalities inscribed in matter, unsettling inherited geologies and attuning to manifold echoes through which planetary worlds persist and diverge. articulating geoanthropological entanglements, this practice follows hydric agencies as material, affective, and epistemic threads, tracing how water shapes, transmits, and
rearticulates geohistorical processes. pablo proposes sonic gestures as languages for sense-making of -and enacting- relational ecologies. these gestures exceed the epistemic and material frameworks imposed by extractive geology, resisting the reduction of possible futures to singular, colonial trajectories. through these processes, pablo proposes to cultivate modes of relation grounded in opacity, discontinuity, and interdependence, opening transversal spaces for interspecific encounters and fostering material foldings sensible to coemerging futures.
torres gómez is a phd candidate in artistic practice at the hochschule für bildende künste (hfbk) hamburg. he holds a b.a. in social and cultural anthropology and an m.a. from the interdisciplinary program design & computation at the universität der künste (udk) in berlin. he is a member of the artistic research platform new practice in art and technology and collaborates with the listening biennial, knowbotiq, nodes, ~pes, entre moléculas, and s4ntp. his work has been activated in contexts such as documenta15 (kassel), ars electronica (linz), the ngbk’s station for urban culture, monopol, and floating university (berlin), helmhaus (zürich), kunstmuseum stuttgart, the national house in ústí nad labem, kunstraum
niederoesterreich (wien), among others.
Berenice Llorens (ARG)
Berenice Llorens is a composer and sound artist from Córdoba, Argentina, currently based in Berlin. Her practice involves recording, recycling, and reinterpreting sounds from nature, the city, and machines to create evolving sonic ecosystems that invite a reflection on how we perceive, relate to, and transform the environments we inhabit. Llorens works with loops and delays as tools to reconfigure perception and trace the shifting nature of memory through the constant reinterpretation of stimuli. Through mixed techniques and sound spatialization, she creates and moves through sonic territories rooted in awareness, the body, and emotional resonance—spaces where sound flows and mutates fluidly across the textures of
electroacoustic music, the pulsating energy of techno, the expansive landscapes of post-rock, and the meditative states of ambient. Llorens’ work includes performances, compositions, radio, audiovisual works, drawings, writings, and collaborations. She researches sound, artificial intelligence, post-natural studies.
In this performance, Berenice Llorens weaves together field recordings, extended guitar techniques, analog and digital processes, and spoken word to construct a sonic territory that unfolds slowly over time. With constantly mutating loops and delays, the sound becomes an ecosystem—inviting a listening experience that is both immersive and responsive. She creates real-time soundscapes from sonic particles borrowed from the environments she inhabits, forging new relationships and ways of perceiving and listening to space. Llorens inhabits sound fluidly—moving between electroacoustic textures, the pulsating energy of techno, the expansive soundscapes of post-rock, and the meditative states of ambient—in a continuous transformation of space and time.
