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From the series Jitr

Custom software, five speakers, five transducers, two monitors, an Audio interface, five Plastic stools (2-channel color generative visuals, 10-channel generative audio)

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We should have as many voices interspersing as possible เราควรแทรกเสียงเข้าไปให้ได้มากที่สุด at WSA, New York, Part of Art & Code group exhibition: Random Access Memory, DEMO 2024 Curated by Eileen Isagon-Skyers. Produced by Tony Tirador. June 5- June 20, 2024.

https://youtu.be/fqBErLeZIVY?si=bb2CoCavxYKxDm-r

Parted of Art & Code: Random Access Memory–DEMO2024 showcases

We should have as many voices interspersing as possible เราควรแทรกเสียงเข้าไปให้ได้มากที่สุด at WSA, New York. Photo by Dario Lasagni. Part of Art & Code group exhibition: Random Access Memory, DEMO 2024 Curated by Eileen Isagon-Skyers. Produced by Tony Tirador. June 5- June 20, 2024.

We should have as many voices interspersing as possible เราควรแทรกเสียงเข้าไปให้ได้มากที่สุด at WSA, New York. Photo by Dario Lasagni. Part of Art & Code group exhibition: Random Access Memory, DEMO 2024 Curated by Eileen Isagon-Skyers. Produced by Tony Tirador. June 5- June 20, 2024.

We should have as many voices interspersing as possible เราควรแทรกเสียงเข้าไปให้ได้มากที่สุด at WSA, New York. Photo by Isaiah Winters. Part of Art & Code group exhibition: Random Access Memory, DEMO 2024 Curated by Eileen Isagon-Skyers. Produced by Tony Tirador. June 5- June 20, 2024.

We should have as many voices interspersing as possible เราควรแทรกเสียงเข้าไปให้ได้มากที่สุด is multichannel work from elekhlekha อีเหละเขละขละ offers a circular seating arrangement using small plastic stools typically found in restaurants, shops, and establishments across Southeast Asia. Part audiovisual installation, part speculative ritual, a performance plays out across interconnected speakers and transducers whose sounds and vibrations echo a communal gong ensemble. Here, the hypnotic repetition of the hocketing technique is sonically replicated, with melodies and rhythms from various Southeast Asian communities distributed across each chair.

Following the enveloping sonic environment, audio-reactive videos feature glitched and distorted propaganda footage from the Cold War era, along with generative graphics of prose from Thai writer and activist Jitr Poumisak.

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