( 2,2 ) 0

Sonic Architecture of the Inner Space. Interactive sound composition

Dark Space ( 14.5 m x 6.10 m ): Bluetooth noise cancelling headphones / Tracking system and audio transmitter.

Waiting room:TV Screen / sofa & table / Door & red velvet curtains. / Head casting by Chris Rosendahl (2017).

Norway 2017

“Dislocation echoes emancipation” Ernesto Laclau

Nazare Soares, Oystein Kjarstad Fjeldbo & Amalia Fonfara

(2,2) 0 – Sonic Architecture of the Inner Space is a mixed media installation. The central piece is an interactive spatial sound composition in a completely black space, accompanied by a two-channel film installation and a durational performance, both located in a waiting room outside the space of the sound composition.

(2,2) 0 is a proposal for a cinematic space where the visual external stimulus is removed. An interactive installation which utilizes real-time rendered binaural sound systems. We have taken the structure of a (2,2) mode shamanic drum as our reference and built an invisible architecture, that through wireless headphones is experienced sonically inside a completely dark space. The aural experience is limited to one person at an unlimited given time. We have developed a diagram and a map which depict a spatial sound composition made from movements and motions of sound events. As the main methodology in the creative processes, we have applied ritualistic gestures, taking place in collective journeys with a shamanic drum.

An invitation to navigate through a kinematic montage from a spatial psychoacoustic experience, where the imagination seeks to alter and proliferate, reverberating through the deep cavities of the psyche. The inner space is mapped conceiving another kind of system that isn’t represented spatially but is instead constructed from patterns of single events remapped from intensities, interferences, and temporal sensitivity, delays and elastics rhythms. 8 chambers exist simultaneously, each one containing different facets of the acoustic information: it carries sonic characteristics, latency, loudness and modulations of rate and direction. In this way, one is orientated on a journey through the architecture of one’s inner space and towards expanding qualities of the imagination, memory, and emotion. An inner journey towards a spatiality of ambience, atmosphere and spatial self; the heart may pre-echo endless openings, without the eye, space is navigated by being remembered or imagined. The research explores a meta-critique of sight perception in relation to virtual, real and imaginary spaces. Taking the structure of a (2,2) mode shamanic drum as a reference, the artwork explores the possibility for re-combinations and simultaneities of the real-and-imagined, through means of technology. (2,2) 0 uses languages found in feminist practices, a methodology to create strategies for decolonization of cognitive and somatic sensory systems. 

The project is invited to take part in “Hendelser på Nyhavna 2018”, Trondheim, June 5th – 10th. We will use (2,2) 0 as a methodological format and create or adapt content for a specific historical site. We are developing new sound compositions using materials and elements found within the exhibition venue and its
history. As part of the event “Hendelser på Nyhavna 2018”, June 2018, we have been invited to exhibit our work 2,2 0 within the architecture of DORA, National Norwegian Archive, in Trondheim.

The project has received support from Norwegian University of Science and Technology and the National University of Singapore. First presented under working title Timeless Machine at Lighting Shorts. Futurescapes. A symposium in New Media, Technology, and the Humanities as part of Metamorf Art & Technology Biennale in Trondheim. Norway, March 2016. The dream machines initial idea was conceptually constructed from an inspiration based on principal behaviors of atoms and particles in quantum physics.

“How electrons experience the world: that is, dis/orienting experience of the dis/jointed of time and space, entanglements of here and there, now and then, that is, a ghostly sense of dis/continuity, a quantum dis/continuity, which is neither fully discontinues with continuity or even fully continuous with discontinuity, and in any case, surely not one with itself. There is not overarching sense of temporality, of continuity, in place”

(Karen Barad, 2010)

Map of (2,2) 0 showing an invisible sonic architecture created from a 2,2 mode shamanic drum. The diagram depicts a sound composition made from movements and motions of sound events and sound objects in the cinematic space.

More info : https://invisibledrum.tumblr.com

  • Art Science Museum of Singapore. Creative and Cognition  2017. Microbites of Innovation (27.06.17-02.07.17). Photo: Microbites.me ACM CC 2017 /Matthew Aslett / Nazare Soares
  • Lademoen Kunstnerverksteder , Trondheim. Norway ( 21.05.17 – 28.05.17 ). Photo: Gard Aukrust / Amalia Fonfara.


2019 August, III International Festival of Technoshamanism, Aarhus, Denmark.

2019 July, CURRENTS NEW MEDIA – Festival for New Media in the Arts in Santa Fe, New Mexico, USA.

2018 DORA 7th to 10tn of June at Hendelser på Nyhavna 2018, In collaboration with Cirka Theater, Faculty of Architecture at NTNU, Kulturbunker Dora and Trondheim Harbour in Trondheim, Norway.

2017 12th of August at symposium Technoshamanism – Rethinking ancestrality and technology in Dome of Visions, Aarhus, Denmark.

2017 27th June “-2nd July in Microbites of Innovation, ACM Creativity and Cognition 2017 at ArtScience Museum, Marina Bay Sands, Singapore.

2017 21st to 26th of May, Trondheim Art Museum Gråmølna & Lademoen Kunstnerverksteder. Trondheim. Norway.


Artist Talk at Sonar +D International Congress of Creativity, Technology & Business, Sonar 2018 Festival of Music Creativity & Technology. 13-16 June 2018, Barcelona.

Invisible Drum  NSU winter symposium for Circle 7 . Ami SkÃ¥nberg Dahlstedt and Lucy Lyons. Practicing Communities: Transformative societal strategies of artistic research, ReActivate and ReVisit Winter Symposium: at Zirgu Pasts, Latvian Academy of Culture, Riga. Latvia. March, 2018

“Techno-Shamanism“ rethinking ancestrality and technology”  Fabiane M. Borges .Dome of Visions in Aarhus, Denmark. August 2017

“Timeless Machine “Lighting Shorts. Hanna Musiol. Futurescapes. A symposium in New Media, Technology, and the Humanities. Trondheim. NO. March, 2016.