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 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.
Further dates:
Nov 16th 2025: thinking through sound: Tradition Simon Herody and Tuce Alba
Nov 30th 2025: thinking through sound:The inner self Julia Witas and Abigail Toll
Past dates:
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.
