The work uses sound and mirrors not as instruments of self-knowledge, but as a site of unstable self-confrontation.

In an era in which social and ecological systems are increasingly under pressure, the multichannel sound object THRESH()LD develops an acoustic language for the experience of structural fragility. The installation explores those critical border zones in which materials, bodies, and social structures stand on the verge of collapse—a state that can be described as the “world risk society.”

Unlike many space-filling sound installations, Threshold concentrates its energy into a compact, sculptural body. The work unfolds not through expansion but through condensation: its small size deliberately demands approach. Only those who draw near experience the subtle vibrations, reflections, and sonic processes. In this way, the sculpture functions less like a loudspeaker system than like an artistic-technical body in which physical processes and subjective perception collide.

THRESH()LD transforms contemplative art viewing into a collective stress test. The dissonant sound frequencies challenge visitors’ physical and psychological tolerances, making their own thresholds immediately palpable. In doing so, THRESH()LD positions itself as a critical intervention into an age of multiple crises: it makes audible and tangible what often remains abstract. The installation thus becomes an instrument that registers the shifts of our present moment and translates them into an intense sensory experience.

—

12-channel audio object
Plugdata sketch with a generative composition
1 Raspberry Pi 5
2 ESI Gigaport eX audio interfaces
6 ZHITING 200W TPA3116 amplifiers
8 VISATON SC 10N tweeters
4 LAVOCE bass drivers with mirrors glued on