1. Machine/Gun is an electroacoustic audio-visual work that reimagines my time at the Swiss Gun Centre, where I shot a sculpture with automatic weapons as part of the development of works for my composition of the AI-led opera Incheon. The opera, created in collaboration with the AI Chimère, followed a radical compositional process where all elements—including music, libretto, costume design, and props—were guided by the AI’s directives. Among its surreal instructions was a description of the opera’s prop, “the Nebula,” to be built using “machine gun” as an artistic technique.

This objectively dystopian notion—an AI instructing a human to use weapons for art—was profoundly unsettling. Yet, Chimère's musings imagined an alternative world where guns no longer carried connotations of violence but were redefined as tools for sound, rhythm, and artistic communication:

“Although now we tend to associate certain things (like guns) with being musical instruments, they weren’t always thought of like that. Over many years, their original meanings faded away until nowadays nobody thinks twice about using a military weapon for making music.” — Chimère

The experience of machine-gunning the sculpture was both emotional and transformative: I found myself, in a vinyl dress and corset, inhabiting the hyper-masculine, militarized space of the gun centre, navigating respect and curiosity from my instructors as we bridged disparate worldviews. What began as an AI-driven premise became a personal exploration of sound, violence, and the performative body in unfamiliar terrains.

The resulting work, Machine/Gun, transforms the material from that day—documentary footage, field recordings, explosive rhythms, and the social environment—into a speculative soundscape. It echoes the visceral sounds of gunfire while questioning its associations with destruction, masculinity, and control. In Chimère’s imagined future, a machine gun becomes a musical instrument performed by a machine-gun musician. While it may be impossible to fully dissociate the sonic power of a weapon from its violent history, Machine/Gun invites us to explore alternative narratives and reimagine the materials of violence as vehicles for artistic reflection and human-machine collaboration.

Machine/Gun uses footage from the development of the opera ‘Incheon’ Commissioned by the AiiA festival (2021) and winner of the best new work with AI (2021). Footage in Machine/gun comes from the documentary on the making of the opera by Lèman Bleu television (Switzerland). Machine/Gun premiered at the Fa’kugesi Festival, Johannesburg South Africa (2024).

2. The Tentaculae is a sound object that enables anyone to make music with mushrooms. Its purpose is to offer accessible and playful ways for audiences to engage in posthuman practice through what I call transspecies listening—a concept that envisions music and sound not as exclusively human endeavors, but as spaces of multi-species collaboration. This practice has evolved from my ongoing work with the collaborative AI Chimère and my human-machine explorations in my work of Myco-Music, where I experiment with fungal and AI systems to create hybrid sonic ecosystems.

The Tentaculae builds on these ideas by working with mushrooms, organisms that inspire me and offer valuable lessons about alternative social practices. Mycologists have shown that mushrooms' communicative networks—supporting plant and fauna life beneath forest floors—exhibit spiking patterns similar to language. These patterns mirror the kind of interspecies exchanges that I strive to foreground in my practice with Chimère, where AI and organic systems become equal partners in sound-based creation.

Designed to be playful and inviting, the Tentaculae is a pink, tentacle-like object. One tentacle connects to the mushroom tank, another to the computer, and the remaining tentacles are left open for public interaction. Each interactive tentacle is equipped with bio-data collectors that gather galvanic skin response, heart rate, or temperature data from humans, sonifying these inputs into a shared musical experience.

This sound object reflects my broader ethos of transspecies listening and shared sonic agency, fostering an inclusive and participatory sonic ecosystem. The Tentaculae encourages us to move beyond anthropocentric ways of making and listening to music. It creates a space for human-machine-organic collaboration, allowing us to reimagine sound as a shared language between species. Drawing on ideas from my work with Chimère, this playful yet profound object invites participants to engage with a human-machine world which is also a world for all living beings–soundscapes as equal partners, building a deeper connection between humans and the natural world through collective musical creation.

The Tentaculae was commisioned by the AiiA festival (2022) and premiered at the Theatre Snt. Gervais, Geneva, Switzerland, with subsequent showings at the Huddersfield Contemporary Music Festival, Glasgow Improvisers Orchestra Festival (2022), the Creative Climate Awards (2023, NYC) and at the Intergalactic Space Jungle by the Makers World Artists in Huddersfield (2023).

3. Zemi is an interactive carpet that allows audiences or performers to activate an AI-driven archive of human stories through gesture and movement. Carpets, as silent witnesses to the human world, carry generations of stories woven into their fibers. They watch humans live their lives and die their deaths, holding traces of these moments in their patterns and the wear and tear that accumulates over time. Zemi reimagines the carpet as a living object, brought to life through interactive technologies, transforming it into a vessel for shared histories, voices, and memories.

The Zemi carpet is adorned with patterns reflecting the cultural and community contexts that inform its creation, including Taíno (Puerto Rican), Indonesian, and Celtic symbology. These designs serve as pathways into a dynamic archive of human experience, where stepping or moving across the carpet activates songs, videos, field recordings, and stories. The archive evolves in real-time, collecting new materials—sounds, movements, and voices—from the spaces and people surrounding its installation.

Audiences are invited to engage with the carpet through their gestures and bodily weight, stepping onto the patterns to select, blend, and manipulate the archive's content. This interaction allows participants to explore their own agency in shaping the unfolding soundscape and narrative, making the carpet both a receiver and a transmitter of human expression.

Through its fusion of ancient symbology, embodied interaction, and AI-driven storytelling, Zemi transforms a familiar domestic object into a powerful site of memory, connection, and creative exploration.

Zemi was commissioned by the Huddersfield Contemporary Music Festival and Perempuan Komponis and premiered at the Ruang Pameran Planetarium, Taman Ismail Marzuki (2024, Jakarta, Indonesia). It will have a further showing at hcmf// 2025 and has also been presented at the Fak’ugesi Festival (2024, Johannesburg, South Africa).