eme isaza

It joins two project-agnostic systems, the MASA protocol and the Cosmoaudition system, which turn sources, measurements and attributed observations into typed signals, mappings and routes. Either can be built into another instrument, archive or installation. Sonic Field Labs released it on 9 August 2026, with GERM as its reference integration.

The manifesto opens LISTENING.md. It argues for centaur ears, the shared listening of people and computational agents, and for an agentic acoulogy that keeps algorithmic listening situated and accountable. It sits beside the Listening Stack and the AuditumSWE benchmark.

The night set out to inhabit the dimensions of Transcendental Qabbala, Hunt-Hendrix’s intellectual and artistic system. It opened with a conversation between eme and Hunt-Hendrix, continued with NANAY and closed with Litvrgy. Muerte a la Miseria and La Pascasia presented it within Salas Abiertas, with free entry.

NANAY describes Xynth as an instrument of cosmotechnical sonification. Bitcoin’s hashrate drives its core oscillators, memecoin volatility its modulation, and network congestion on Ethereum and Solana its spatial distortion. The four tracks document the machine left to dream, glitch and terrify on its own, treating the blockchain less as a ledger than as a force reshaping the earth. A generative, playable version runs in the browser. eme recorded and mixed the release at Momoto Studio.

It works as a portable skill layer that agents such as Claude, Gemini or OpenCode can load to carry out accountable, structured sonic inquiry, keeping listening modes explicit and claims within a strict taxonomy. It is part of The Listening Stack.

Each generated environment is treated as a research object, with its prompt, render, listening report, score and review kept together. The framework covers biophony, anthrophony and technophony: the soundscape as produced, mediated, reconstructed or re-heard by computational systems.

It belongs to LISTENING.md, which gathers the manifesto For Centaur Ears, the Listening Stack, a working vocabulary and this benchmark into one program on how machines listen. Sonic Field announced it in July 2026, while the benchmark was still being built.

Its local gateway publishes normalized, attributed and epistemically typed signals over HTTP, Server-Sent Events, OSC, MIDI and MASA records, so other projects can use them without inheriting the code. Within the Sonic Matter Framework it works alongside the MASA protocol.

GERM treats sound as matter that can be generated, granulated, mutated, routed, listened to, cultivated and traced. It is the reference integration of the Sonic Matter Framework and works with the Listening Stack. Like the other Labs tools it is local-first and open source.

LISTENING.md brings together four parts: For Centaur Ears, an algorithmic listening manifesto; The Listening Stack, an open agentic listening stack; a benchmark for audio models; and an open reference for studying how people and computational agents listen together and to each other.

MASA, a Sound Matter Aware protocol, gives any system a shared contract for measuring, transforming, generating and exchanging sound as matter, without confusing an audio file, a physical event, a perceptual account and a computational claim. It is MIT-licensed, comes with command-line, MCP and agent tooling, and underlies the Sonic Matter Framework.

Oída gathers the AKOÚŌ listening contract, Earworm’s provenance and memory protocol and the Akousmata library behind one local daemon, dashboard, command line and API. It can listen through its own audio engine or accept perception from an audio-capable host, and both routes become the same structured record of claims and evidence. It is a public alpha from Sonic Field Labs.

A tool designed for deep listening and meditation through synthetic voices.

ORAM began as a speech-operated looper in the terminal and now joins a Python instrument, a local dashboard and daemon, and a native macOS app. It takes its name and its epigraph from Daphne Oram: “We seem to have tuned circuits within us.”

Sonic Field Labs is Sonic Field’s experimental research unit for sound, listening, audio technologies and sonic culture, drawing on acoustics, acousmatics, signal processing, cybernetics, artificial intelligence and listening studies. Its open repositories, among them Algophony, ORAM, GERM, Oída and The Listening Stack, are developed with aleph::ch’ixi.

The Listening Stack is the reusable, project-agnostic code behind Oída. AKOÚŌ sets how claims about sound are made, Earworm carries context and provenance between tools, and Akousmata keeps a sonic memory beneath them. It is open, local-first and in active development, meant to keep evidence, provenance and lineage intact across agentic audio workflows.

Post-digital mystical exercise using a generative synthesizer built inside the browser to create an audiovisual space of retreat from navigation data such as network latency, battery status, cursor acceleration, and time. The project seeks an apophatic religiosity from the cyborg, holographic, data-based condition. Here mediation results in digital plasticity that translates into a listening and visualization space oriented toward a cyber-mystical encounter. A way to keep sacred silence alive inside the robot. The Bandcamp version gathers different hours, moments, and configurations of the algorithm on the same computer. It can be heard in a continuous 20-minute sweep in which different layers of the mutantexture generated by the temple mutate. A generative version is also available that can run in any browser.

The poster lists David Vélez, Eco Errazuriz and Ensamble Fisura, Ediciones Éter, Magenta, Máquinas Mestizas, rinri and ross, for Sunday 27 April 2025 at Coocine, in the vereda El Plan. It was presented by aleph::ch’ixi.

The concert was presented by aleph::ch’ixi. rinri’s work with gong and synthesizer is also on record in O + ~ and luna.

Pan flute, ronroco, gaita chonta and a singing bowl meet eurorack systems, distortion and signal degraders. The release describes it as rural lowercase, butterfly ambient and drone for moss: granular synthesis heard among swamp, carriquí birds and eucalyptus, a way of remembering ourselves in metamorphosis. eme mixed and mastered it at Momoto Studio, and it appeared in December 2025.

Presented by aleph::ch’ixi. The studio version of rinri’s piece is luna.

• laguna, with pacho, 28 November 2025: Spotify
• cu, 14 November 2025: Spotify
• pewpew, 26 September 2025: Spotify
• FÁNTASI, 25 July 2025: Spotify
• bb 0.5x, 16 April 2025: Spotify
• arcoiris, 28 February 2025: Spotify

Before the answer comes, the blast is an acousmatic event that holds both possibilities, violence and celebration at once, and the group keeps it there. All three pieces come from a single recording whose source is never revealed. tastas gates it into grains, plomo (infra edit) keeps only what lies below 200 Hz, and bala-pólvora eterna multiplies its pops into millions through granular processing. eme mastered it at Momoto Studio, and it appeared in November 2025.

rinri builds a sonic spiral as a listening offering and a pause for silence, where ch’ixi names the force that holds silence and noise, the faint and the intense, metallurgy and circuitry together. Recorded in the studio from a piece first played live, it portrays the moon appearing and fading, and is meant to be played in a loop. eme mastered it at Momoto Studio, and it appeared in February 2025.

NANAY calls its method sonic demonology, the study of the dark and inhuman in sound. atohcib honours redundancy and reversibility. 176bchts stacks 176 slightly shifted copies of the song, a process the group calls sonic cloning. bichota (infra edit) keeps only the low frequencies, hiperb raises pitch and tempo until the song turns into an electronic creature, and demoniangel melts it through time-stretching and spectral blur. Instructions for repeating each process come with the release, which eme mastered at Momoto Studio in April 2025.

The songs are 8, nada, m, bn and opio, each between two and four minutes long.

capul opened a year of eme Zzz releases that continued with repitis, the trébol EP and no-ome.

aleph::ch’ixi was the development, conceptualization and research platform behind Sonic Field Labs, and it publishes releases, code and live work. Its releases and live events, among them Jornada Glaciar, Concierto Un momento and Concierto drone, are listed in the portfolio. The full account is the selected-work case study.

Each piece works on one record. aputería time-stretches and spectrally processes La Putería, also known as Pelea con el Diablo, by Octavio Mesa (1987). madre muerte (infra edit) filters Parabellum’s 1984 ultrametal landmark down to a near-silent black noise. eternidad freezes Darío Gómez’s Nadie es eterno (1989) into a cloud of grains. A text accompanies the release as a map for repeating the processes. eme mastered it at Momoto Studio, and it appeared in November 2024.

F.S.U. presents its releases as voice, pulse and melody offered as the anthem of new utopias. gomita58 also draws covers for the aleph::ch’ixi catalogue, among them O + ~, aputería and luna.

The skills work as a decolonial set of instructions and conditions, grounded in Abya Yala, for agents to develop ecological and epistemological ways of thinking. They take their name from Silvia Rivera Cusicanqui’s ch’ixi, the coexistence of differences that do not merge, which also names aleph::ch’ixi.

It includes a custom dashboard and scripts and documentation for configuring agents, controls, inputs, outputs and OLED screen workflows.

HABITAT.md is an experimental journal and research laboratory on ethics, ecology and spirituality in contemporary cybernetics, part of the aleph::ch’ixi practice.

rinri pairs two technologies for their sonic force and their meditative pull: the gong, heard as an ancestral OM, and spectral processing that brings it close to the sine wave. Ch’ixi appears here as a cosmology in which the universe is emptiness and noise, waves in silence, in circular and non-linear time. The piece holds a single moment as an unbroken drone. eme mastered it at Momoto Studio, and it appeared in November 2024.

Edgar, known for music between techno, hip hop and glitch on labels such as Warp, Ultramajic and Innovative Leisure, had built a visual practice that found its place on the blockchain through conceptual NFT drops. The essay follows his reflection on colour, shape and space and the critical edge of that work.

It begins by asking what electronic music is, neither a genre nor a style but the entry of the electric and the digital into music-making, and follows Radigue’s path from the ARP 2500 synthesizer to Buddhist practice and to long, slowly changing drones that ask for an infinite listening.

eme took part alongside Diana Combo, Gustavo Costa, Budhaditya Chattopadhyay, Lawrence English, Antye Greie-Ripatti, Matthew Herbert, Kyoka, BJ Nielsen, Laura Romero and Natalia Valencia. eme also wrote about the project for CLOT, in Post-pandemic time.

The release calls flor an ode to sanity, “from intimacy to intimacy, like one silence before another, for the forest that we are.” It was recorded, produced and mixed at Momoto Studio, with guitars by Alejandro Henao on polen and polenn, mastering by David Uribe at Backdoor in Florida, design by Nicolás Muñoz around a photograph by Alejandro Henao, and videos by Rossana Uribe.

Starting from David Toop’s Ocean of Sound, the essay reads ambient as a listening posture more than a technique, a music of drift and stasis for bodies held within new limits and minds saturated by the virtual. The post came with a selection of ethereal music from the 1990s to the present and a chapter of Toop’s book to download.

Audiosfera set out to fill a historical gap in the recognition of experimental sound, gathering hundreds of works by sound artists from around the world. It was presented without images or objects, in an exhibition design made for deep, prolonged listening.

eme described it as a gesture to recall “the co-dependence of everything that exists,” a way to meet inside listening and to meditate on sonority. The cover is Tejido, a drawing by the artist Andrea Domínguez Ramírez.

Monofónicos described Cronotopía as a sequence of code unfolding into noise, breaks and pulses, a journey through cybernetic environments where distortion and unexpected rhythmic mutation lead. Ambient derivatives cross frenetic glitch and experimental techno across the ten tracks. The label’s note names Roedor as a project of eme; this was its fifth release on Monofónicos, in September 2019.

eilean 100 closed the label’s map of releases, and the project itself, by bringing together the artists involved since its beginning: six hours of music, with 61 new or unreleased tracks and 21 drawn from back catalogues. eme’s contribution is the opening piece of Uji, which Eilean had published in 2014 as map point eilean 07. The physical edition was limited to 175 copies.

The piece grew from research on sound as an interstice of the material and the immaterial. Thousands of sources processed with digital tools gather into “sonic matter,” and the room keeps it as a silent, open and unknown space, an exploration of sound as a cosmic element with its own dimension. The releases case study tells more.

A short poem frames it: leaving one decade and opening another “with the same heart,” looking to be alive “in the transit of things.” eme dedicated it to everyone who had supported the music over those ten years. The cover is by Kathiuska, and it was mastered at Momoto Studio.

Upallay is Quechua for stopping all sound and chaos, “to light up silence.” Read in order, the titles form one long phrase, from A fin de cuentas el sonido es el que habla to Con el sosiego que trae el momoto. The limited physical edition, designed by Pedro Arbeláez, was a piece of trunk found in the forest, engraved by CNC, with a microSD card of the album set into the wood.

A short text opens the record: a vortex forms, and the noises it gathers stay “in an incessant orbit” where life is not pulled to the ground but rises, “as if going against gravity.” Bioma, Isotopo, Gravedad and the title track follow that image through electronic textures and pulses, and remixes by oo and Pangüilof close the release. ÉTER published it in October 2018.

DesFase, also known as Negra AV, is the duo of the electronic artists Felipe Hernández and Mauricio Suaza. In arché, the ether works as a common zone where light and sound react to each other, and the installation folds its geometry into point, line and plane, the elementary forms of vibration. Its text asks whether vibration could be the arché, the first principle of everything that exists: “perhaps light was a sonic flame, a delicate vibration of the luciferous ether.”

The programme brought concerts by Jorge Haro, installations by Leonel Vásquez and talks with France Jobin, together with experimental laboratories. eme directed the curation and production.

Derived from the Darién project, it set the insect as a universe in miniature against the vastness of the territory, in a succession of shadows and silences, bursts and microsounds. It was shown at the Museo de Arte de Pereira in 2018.

Curated by eme, the works were set as a single spatial composition, where sound appeared as a medium between media and a space for open speculation in listening. It was open for two weeks at the Crealab of the Faculty of Arts of the Universidad de Antioquia.

The titles trace an underground passage, from Propaganda through three parts of Metellinum, the Latin name behind Medellín, to Túneles, Péndulo and Subterfugio.

Noumena explores microsound as a way of meeting objects that are almost real yet stay veiled and masked, “always children of a theatre of time.” It opens with lines by the poet Roberto Juarroz about saying a word that exists about something that neither exists nor does not. eme made the composition, the artwork, the video teaser and the master.

Made from field recordings and small digital supports, it holds an intermediate state in which sound appears as oscillation and latency.

This version treats listening as a speculative dimension and sound as malleable time.

It uses sonic matter as a cosmological element, granulating time into milliseconds and sine waves.

The project set out a silent militancy through hidden acts of sound: four acousmatic concerts for speakers concealed around Medellín, from the streets of the centre to parks such as La Milagrosa and the forests of Santa Elena. Flute, kalimba, cymbals and sine waves merged with each place and were recorded there, then composed into an album released in November 2018 with a text on listening and public space. Recordings by David Escallón and eme, produced by Éter Lab and Auditum.

Andy Hildebrand developed the algorithm after years of analysing layers of the ground for oil, and the article follows that route from geophysics to the most recognizable vocal effect of its time. It weighs the criticism, Time counted Auto-Tune among the fifty worst inventions, against the new voices and genres the tool made possible.

Written while Dalt was in Colombia for Rock al Parque 2017, the piece hears her music as hypnagogic, between experimentation and representation. She talks about performing alone with synthesizers, voice, vocoders and live processing, and about the album she had finished for early 2018. The article premiered the video for her single Esotro.

A work by Camilo Tamayo, Rossana Uribe and eme that evokes, through explorations and audiovisual distortions of matter, expansions of conscious perception, inquiring into the interaction of matter and the immaterial to thus harbor a multiplicity of spectral manifestations of color, forms of objects, and frequencies of sound. Through the use of metaphors and poetic wordplay, a cinematographic narrative is woven that portrays sonic and pictorial chimeras, seeking a conscious expansion in our consideration of reality, the powers of perception, and the manifestations of energy.

The work was presented for the first time as part of the exhibition as an Ethereal Stand at Bodega Central during MedellínDesignWeek 2017, along with other projects and pieces from the laboratory. In the same year, during the Semana de la Escucha, it was presented in a multiple projection format as part of the festival’s closing event, together with other international and national artists at the Parque Explora Auditorium.

Made with Pedro Arbeláez, Rossana Uribe and Jaime Zapata under the direction of David Escallón, with the support of the museum and the Fundación Sofía Pérez de Soto, in alliance with the Ministerio de Cultura, the Universidad de Antioquia, Ibermuseos and Éter Lab. It ran until 12 March 2017.

VacuaMoenia called “inner soundscape” the listening that new recording techniques make possible, of soundscapes the ear would not normally capture. The call asked for works on the inner form of matter and for ideas of deep listening drawn from personal experience; the selection became a thirteen-track compilation in March 2017.

The liner notes join magical realism with object-oriented philosophy: if all things count equally, real or imagined, every object can be heard as a resonance, present and absent at once. Field recordings, found objects, analog synthesizers and electromagnetic fields gathered since 2012 for ALEPH, a research on magical realism with Rossana Uribe and Camilo Tamayo, are woven together. Three titles quote the novel’s first page and the fourth Timothy Morton. It was first heard as an acousmatic installation at FLORA ars+natura in Bogotá.

Māyopama is a Sanskrit term for something “as a magic illusion,” and its eight similes, from dream and mirage to echo and the city of gandharvas, give the tracks their names. Recordings from Rome, Naples, Benevento and rural Fortore, some made during the Liminaria residency at Ginestra degli Schiavoni, were worked through microsound and spectral processing until the solid and the ethereal sound alike.

One piece comes from microsonic scans of the Darién jungle, the other from the sonic drifts of ALEPH, the research on magical realism and cosmology that also produced Macondo.

The programme included a panel on sonology, deep-listening workshops, concerts and installations.

The titles follow a vocabulary of shared life and change, from Volátil and Mímesis through Mutualismo, Mutación and Sinergia, and end in Tlön, after the invented world of Borges’s story.

Recordings of insects and designed sounds blended into the garden, inviting visitors to look for invisible acoustic creatures.

The series moves from basic notions to working practice. Among its later chapters are El DAW no es el centro, on why the workstation is not the centre of the work, and La necesidad de integrar los roles, on bringing the roles of sound design together.

The article separates training the ear, intervals and frequencies, from training listening as a mental and spiritual activity: “not to hear like someone attending to sounds, but to listen like someone who lives in them.” Five exercises follow, offered as invitations to meet what sounds, inside and outside, acoustically or immaterially.

It traces cymatics from Ernst Chladni’s sand figures on vibrating plates, described in 1787, to Hans Jenny, the Swiss scientist who named the field, and to Margaret Watts-Hughes and her Eidophone. Between science and poetry, it links those images of matter shaped by vibration to the old idea of sound as the ground of the universe, present in the Vedas and in Pythagorean thought.

The residency also produced recordings used in Māyopama, and a daily diary, Ethereal Fortore, on the Liminaria blog.

Its epigraph names the idea: to manipulate “the ephemeral microfibers of those aerial silhouettes we call sounds” is “nothing more than an excuse to seduce time and stop at listening.” Éter issued it as éter22, as a download and a mini CD-R, with an audiovisual piece and a teaser by Rossana Uribe.

Minutes after eme began recording inside the cathedral, someone started to play the organ, and the building itself seemed to become the instrument. From that sense of resonance, the pieces use granular and spectral processing to reveal the simple waves inside complex sounds, dissolving recorded spaces into narrow harmonic bands and grains close to the sine wave. The Sanskrit title, “not this, not this,” returns in the track names Ni esto and Ni aquello.

eme approached field recording “not as a way of capturing the territory but to move, transform and rethink its matter.” Granular structures, spatial articulations and echoes are explored at several time scales and rewoven into a network without hierarchy that spreads in all directions, like a rhizome. Galaverna placed it within a long research into microsound and vibration that questions anthropocentric listening.

The title names “a silent dialogue that gets renewed on each listening.” Keyboard parts sit among soundscapes and found objects recorded across Medellín, where the album was composed and mixed in 2015 and 2016. Chihei Hatakeyama, who runs the label, mastered it, and the cover photograph is by Rossana Uribe.

It gathered works by Alejandro Cornejo, Budhaditya Chattopadhyay, David Vélez, Fabio Perletta, France Jobin, John Grzinich, Manrico Montero, Robert Curgenven, Simon Whetham, Yann Novak and Yannick Dauby.

The title is Raimon Panikkar’s word for a time in which temporality and eternity are one, a fullness of the present where everyday things manifest eternity. The album listens for it in how sound connects across time scales, from quick microforms to wide networks, using field recordings, found objects, flute and harmonica. Brian Housman of Stationary Travels heard sounds “pristine, crisp, and articulate.” The artwork is by Alejandro Henao.

It compares the sound designer with the architect. Both build spaces, one from materials and geometry, the other from resonances, echoes and the properties of imagined materials, carried into storytelling and emotion. The essay leaves the analogy open, as a set of questions about sonic space.

The essay begins behind the curtain of Pythagoras, who taught from behind a veil so that only his voice reached his listeners, and follows the word to Pierre Schaeffer, who took “acousmatic” for musique concrète and for listening to sound in itself. It ends as an invitation to be quiet, “because listening is active.”

Following an earlier piece on silence and the listening experience, it turns to thresholds: the sounds we cannot hear but that are still there, the zero note, the implied sonic space of a film. Quotations from Susan Sontag and Lisa Coulthard frame the argument that sound itself is silent, impossible to catch, a trace of impermanence.

Opening with Curtis Roads on particle theories of sound, the essay reads microsound as an art of detail and texture, “a reconciliation of matter and data” in Mitchell Whitelaw’s phrase. Its argument is that the ground of microsound is listening itself, a microaudition, more than the technology that made it possible.

Bonsai gathers small elements extracted from the soundscape and regroups them through digital processing, opening other points of view on the places where they were recorded. Its epigraph sets the scale: “universes hidden inside universes, look for infinity into infinity.” Éter issued it in February 2014 as éter03, as a download and a mini CD-R in an edition of 30, and its catalogue page credits the piece to eme.

Burbuja is the latest of the Isz releases, which between 2011 and 2014 turned field recordings of objects, cities and landscapes into microsound, alongside Forms, Hums, Spheres, 200X and Bonsai.

The release opens with a question: “search the audible, search the inaudible, is there a difference?” From Pneuma to Gravedad, the six pieces are sounds woven like routes of nothing, songs for a lightness in which silent bodies hang, the fragile sway of listening between what appears and what does not. Éter issued it in April 2014 as éter06, as a download and a CD-R in an edition of 70.

The six pieces, from Madrugada to Ecos, were composed between May and October 2014 and first presented that October at the Planetarium of Medellín, with a cosmic projection and readings of the haikus. Éter issued the album as éter11, as a download and a CD-R in an edition of 80.

Between performance and installation, the piece played through the museum rooms while visitors walked among paintings by Débora Arango, Ethel Gilmour and Beatriz González that together explore the history of the Colombian conflict and the struggle between political parties. Its epigraph reads: “breathe, just breathe, and listen to eternal silence even amid cries of war.” eme donated the piece to the museum’s collection.

The two artists processed each other’s recordings intuitively, building a story out of sound fragments exchanged between the two countries. The release holds two parts.

Charango, pan flutes, harmonica and a music box move among the recordings. The title is Dōgen’s word for being-time, which eme’s note for the label describes as every phenomenon understood as an individual moment of time, “like ephemeral sounds floating in the ocean of impermanence.” Eilean issued it in September 2014 as map point eilean 07, in an edition of 80 with photographs by Mathias Van Eecloo. At Fluid Radio, Matt Gilley heard soundscapes that “come with a shadow of the unknown.”

200X works at the scale of the microscopic soundscape. Insects, birdsong, rain and hydrophone recordings from Llanogrande were isolated, cut into small elements and reassembled, so that the place stays audible while its scale and space change around the listener. Flavien Gillié, writing for the label, heard a work that “originates in the smallest” and “finally reaches the cosmic.”

Auditum began in 2013 between Éter Lab and the Exploratorio of Parque Explora. Its yearly Semana de la Escucha and its itinerant events dealt with sound, silence and noise as ways of listening to the territory. The full account is the selected-work case study.

The catalogue opened with Retorno by Lü in December 2013 and grew into the CD-R series, the Akasha series for ambient from microsound to drone, and later digital and vinyl editions such as flor.

The titles are Quechua: Uray and Wichay, below and above, and Intiq Chinkanan and Intiq Lloqsinan, where the sun sets and where it rises. Like the other Arpa records, it sets sine waves beside processed Andean instruments in slow, introspective spaces. The digital release dates from July 2013.

The release describes sounds without departure or return, like atoms without an owner in an infinite ocean of dreams, where the only listener and the only thing heard is silence. The four titles, Ku, Za, Zen and Mu, come from the vocabulary of Zen, and a line by the Zen teacher Taisen Deshimaru goes with them. It appeared in June 2013.

“Material dreams, aether routes, silent illusions”: the release offers delicate, ephemeral portraits of infinity in the micro and macrocosm. Urban and natural recordings gathered in Colombia between 2008 and 2013 meet processed acoustic and electronic instruments to explore timbre and the relation between time, form and space, carrying sonic energy across several time scales at once. The illustration is by Andrea Domínguez.

Made in Medellín from field recordings and electronic and acoustic instruments, Retorno grows from a short poem about intertwined paths, “always together when separated,” where returning becomes the reason for moving. Éter issued it in December 2013 as éter01, as a download and a mini CD-R in an edition of 50.

The sound came from three pieces made from field recordings in Antioquia and processed Andean instruments, later published by Ediciones Éter as simple.mente.

Paz, Penumbra and Vacuidad pass through fear, shadow, compassion, loneliness and quiet while, in the words of the release, “the mind remains simple, empty, in peace.” The complete piece was first shown as an audiovisual installation at Plazarte gallery in Medellín in August 2013. Éter issued it that December as éter02, as a download and a CD-R in an edition of 50, and its catalogue credits the pieces to eme.

Sonic Field publishes news, reviews, interviews and essays and keeps public indexes of books, tools and concepts. Its research unit is Sonic Field Labs. The full account is the selected-work case study.

Sounds curated from a computer (air, contact, EM fields). Composition that manifests a sonic environment between the organic and the synthetic.

eme co-founded Éter with Alejo Henao in 2012, directed it and later curated its label and the Auditum festival until 2022. Its work is spread across the portfolio, from exhibitions such as Escuchas, Darién (LAB3) and Hipnagogia to the label Ediciones Éter and the festival Auditum. The full account is the selected-work case study.

Each of the eight Hums isolates a small sound captured in the field, an object or a stretch of soundscape, and lets its texture develop slowly at close range. After the limited CD on Outside, the album was released digitally in May 2012 and now circulates only in that form.

The two set out to connect their cities as a narrative. The piece starts quietly in nature and moves toward ever more urban, crowded places, where the cities overlap and circle each other: footsteps in Matsumoto pass their counterparts in Medellín across the stereo field, and passengers on a train leaving Matsumoto station blend into the chatter of Colombian voices.

In the label’s words, a rodent wanders through the system recycling noises and combining them into changing structures: worlds built from field recordings and electronic instruments that settle between the concrete and the abstract, “between instinct and the machine,” in what it called “our artificial nature.” The artwork is by Mónica Saldarriaga.

Raíces was first available on the netlabel Inside and came out on Bandcamp in July 2012. Its pairing of pure tones with processed Andean instruments runs through the other Arpa records, Mushotoku, Llaves and simple.mente.

When Sonic Field began in late 2013, eme merged infinite grain into it, and the reviews moved to the new platform with the infinite grain interviews.

Through granular and spectral processing, the recordings become “metallic spheres” that combine into the illusion of objects building a space, itself metallic and spherical. The piece leaves a question: “is the listener perceiving a sphere, or is the listener the sphere?” Audiotalaia’s release credits the composition to eme. The artwork is by Santiago Merino.

Series of generative images developed around the idea of microsound visualization for the project Atomic Valley (2011-2013), integrating TouchDesigner particle systems and geometrical forms, altered and combined with manipulated sonograms.

The designers studied three kinds of space and how people moved through them, and from that study defined geometric parameters and irregular polygons. Those shapes became the basis of the sound: field recordings of city activity, processed until they changed form into objects interacting in three different spaces. The release, from December 2011, credits eme as composer.

Synthesizers, drum machines, found objects and field recordings mutated through 2010 and 2011 into an ecosystem of broken-techno rhythms, a hybrid of organic and synthetic life. The titles move from Núcleo and Roble to Faro, Éter and Páramo.

Designing Sound announced it in June 2010 as its Spanish-language sister blog, hosted by Hispasonic, then the largest Spanish-language community for audio production. It carried its own articles alongside translated interviews and features from Designing Sound.

Designing Sound gathered interviews, reviews, technical articles and resources on sound design for film, games and interactive media. eme founded it in 2008 and left in 2010; a community of editors carried the site on for years afterwards. Its interview series are listed in the portfolio as Featured Sound Designers and Video game sound interviews, and the longer story is in the writing and editorial case study.

eme co-founded Monofónicos in 2008 and co-directed it until 2010. Its catalogue later carried the Roedor albums, from Metrópoli to Cronotopía.