Stacked sound:

Conclusion:

This experiment highlights the fragility of perception and the power dynamics of sound, revealing both the possibilities and limitations of collective artistic processes.

1️⃣ The Illusion of Synchrony
The layered recordings construct a false simultaneity, where past sounds are perceived as part of the present. This destabilization of linear time aligns with Sleepwalker’s interest in non-linear narratives, but raises questions: If sound can fabricate a false sense of presence, how does this affect our trust in lived experience? Does this suggest that time itself is a constructed perception rather than an objective flow?

2️⃣ Sonic Power Structures
Some frequencies dominate while others are erased, mirroring social hierarchies where certain voices are amplified while others remain unheard. This reflects broader political and curatorial challenges—who gets to speak, and who is silenced? Sleepwalker’s focus on inclusivity suggests a need to rethink how sound (and space) can be curated to resist these hierarchies rather than reinforce them.

3️⃣ The Unstable Nature of Reality
The experiment distorts familiar soundscapes, challenging the assumption that perception equals reality. If sound can reshape our sense of place, then space itself is fluid, subjective, and political. What does this mean for site-specific curation? Should Sleepwalker embrace fluid, evolving soundscapes rather than fixed environments?

4️⃣ The Paradox of Free Collaboration
Despite appearing open-ended, the process reveals hidden constraints—each layer is shaped by the previous one, limiting true improvisation. This exposes a paradox of participatory art: does collaboration inherently impose structure? Can Sleepwalker turn this into a curatorial strategy, foregrounding the tensions between agency and limitation rather than masking them?

Next Steps for Sleepwalker

• How can sound be curated to counteract social hierarchies rather than reflect them?
• Should Sleepwalker explore immersive, evolving sound installations where audience input continuously alters the sonic landscape?
• Can the concept of time distortion and perception manipulation be integrated into curatorial strategies beyond sound?

By critically engaging with these tensions, Sleepwalker can push beyond merely experimenting with sound toward actively reshaping curatorial practice through sonic interventions.

This sound experiment is essentially an acoustic preview of the post-human condition, and it exposes:

1. the colonisation of perceptual systems by technology has moved from extension to replacement

2. digital power is reconfiguring the cognitive order through the sonic spectrum

3. the traditional humanist concept of the subject is disintegrating in the vibratory community

Together, these conclusions point to a fundamental proposition: when technology can arbitrarily reconfigure humanity’s most basic spatio-temporal perceptions, we urgently need to establish a new cognitive contract to defend humanity’s perceptual sovereignty.

Reflection:

This collaborative experiment underscores the intricate relationship between sound, perception, and reality. By layering ambient, bodily, and vocal sounds, we crafted a soundscape that challenges linear temporality and questions the authenticity of our sensory experiences. This aligns with Schafer’s (1994) concept of the “soundscape” as both a physical environment and a method of perceiving it, highlighting how sound can shape our understanding of space and time.

The dominance of certain frequencies over others in our recordings mirrors societal power dynamics, where some voices are amplified while others are marginalized. This is reminiscent of LaBelle’s (2019) idea of “acoustic territories,” which emphasizes how sound structures spatial experience and encodes social relations.

Furthermore, the layering technique we employed resonates with the idea of “multivocality,” where multiple voices and sounds coexist, challenging the notion of a singular, authoritative narrative (Kahn, 1999). This multiplicity invites listeners to engage actively with the soundscape, constructing their own interpretations and experiences.

In essence, this project not only explores the artistic and curatorial potential of sound layering but also prompts a deeper reflection on how sound influences perception and reproduces or resists systems of power.

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