REAE

REAE – [sf] Prehend the Room #0 - Pièce de vie

2026-01-10T17:35:45.896671226+00:00

Prehend the room is a project about how we experience space. About how we become, in space, through sound.

It is an installation where feeback evolves over time. A shift in our perspective. Space, as well as sound, or myself, the water running down, are the instruments of the performance and the performers. A co-creation where becoming itself is the instrument, the technology of performance. To sound, it needs to become, bodies need to move, to sound.

#0 - Pièce de vie

For this particular setting (#0), only two room microphones were used: one in my living room, slightly directed toward a speaker, and the second one, with me, on the kitchen table, laying there as I washed the dishes.

The sound captured by those microphones is sent to a group of virtual instruments (three stock presets of the same synthesizer). Both captured pitch and volume act as controllers over the instruments, which play accordingly. This signal is itself captured by the microphones, which feed it back to the instruments for a further loop. Sound is thus controlling itself over time. It is an evolutive feedback.

On this track, the only manipulation I did was to start and stop the recording, and take the second microphone with me in the kitchen. All the dynamics and harmonic content of this track are the results of evolutive feedback.

(2018)

REAE – gyrare

2026-01-10T17:35:45.896671226+00:00

improvisation for washing machine (prog. Dunkles 600 Umd./Min) and granular synthesizers.

the truth is out there.

(2019)

REAE – hermétique [dronecember]

2026-01-10T17:35:45.896671226+00:00

some drones made in SuperCollider. a tarot reading [coming from | leading to] them.

(2022)

reae – sonocculto 1

2026-01-10T17:35:45.896671226+00:00

Collection of tracks recorded between November 2024 and July 2025. All the tracks are based around live coding improvisations / compositions in Tidal Cycles or SuperCollider, which also drive external synthesizers, samplers and drum machines. In most cases, mixer feedback loops are blended in with the original sounds.

(2025)

– sonocculto 2

2026-01-10T17:35:45.896671226+00:00

Tracks recorded in November 2025, using SuperCollider for synthesis, sample manipulation and sequencing.

(2026)

REAE – Coordinates

2026-01-10T17:35:45.896671226+00:00

field recordings: Dresden, Germany ("Quand l'amour s'en va" / "Unshore"), Edinburgh and Puck's Glen, Scotland ("Past the Eas Mor" / "Campfire Plans")

guitars and field recordings processed through SuperCollider

drum machines can make drones ("Unshore")

(2020)

REAE – activating space | prehending the city

2026-01-10T17:35:45.896671226+00:00

Recordings from an installation for computer-generated sounds (SuperCollider) and visuals (Hydra), presented at the mid-term conference ‘Here, There, and Somewhere in Between: Placing, Practicing, Configuring’ (10-11.11.22, Eichstätt Germany)

Installation description:

The installation Activating Space | Prehending the City is conceived as a thinking-with sounds or sonic thinking, configuring and activating space through practices of sounding and listening.

Various field recordings collected around Eichstätt during the months of September and October 2022 are being processed in real time, following a seemingly chaotic or random (dis)order, as an attempt in displaying the variety and complexity of rhythms and patterns com-posing even a small city such as Eichstätt. Through the processes of granular synthesis, time-stretching, and pitch-shifting, the sounds of the city are being de-territorialised, before being re-territorialised as they are being played back into the room. The room itself, exceeding the simple white cube, is being “activated”, as if gaining a new purpose, defined solely through sound.

The only synthetic sounds composing this installation are the low drones, pulsating at their own pace, and inspired by composer and sound artist Maryanne Amacher’s Tone of Place. Based on an analysis of the field recordings, the lowest continuous sounds are being isolated and translated into sine tones, varying in pitch over time, beating at different speeds, grounding the so-called “tone of place”.

The installation could become a movement from the striated space of the city to the smooth space of the drone and back from the drone as ground to the rhythmic patterns as figures. The visuals, reacting in real time to the sound, further striate the sonic space, from black and white noise to the display of the actual code running the installation. In this, the machines are kept open for change, questioning the determinacy of code and computer-generated sounds, and the grid-like mapping practices configuring the city.

(2022)