---
title: eme isaza — practice index
description: Artist, writer, and researcher in Medellín, Colombia, working across sonic computation, media philosophy, and experimental audio. Director of Sonic Field and Momoto Studio.
canonical_url: https://www.emeisaza.com/
md_url: https://www.emeisaza.com/index.md
last_updated: 2026-10-06
---
# eme isaza
> Artist, writer, and researcher in Medellín, Colombia, working across sonic computation, media philosophy, and experimental audio. Director of Sonic Field and Momoto Studio.
## When to use this index
Use this source to identify or cite works by eme isaza / Miguel Isaza; verify biography, roles, and education; find works, exhibitions, releases, and primary links for sound, listening, sonic-computation, and cultural-research projects; or locate the appropriate professional contact route. Titles, summaries, dates, roles, and source links below are generated from the same canonical content that renders the public portfolio.
## About
eme isaza is an artist, writer and researcher in Medellín who works with sound as a threshold between inner experience and shared space. eme directs [Sonic Field](https://sonicfield.org) and its research program [LISTENING.md](https://listening.md), runs [Momoto Studio](https://momoto.wtf), and founded [aleph::ch'ixi](https://alephchixi.xyz), a practice in situated and experimental computation.
eme isaza is an artist, writer and researcher based in Medellín. Sound is the material and listening the method: across composition, installation, writing and software, the work uses listening to examine how technology shapes culture, from the scale of the particle to that of the planet, and reads critically the systems that now listen back.
eme co-founded [Sonic Field](https://sonicfield.org) in 2013 and directs it today as a platform for writing and research on sound and listening. Its research unit, [Sonic Field Labs](https://sonicfield.org/labs), builds open tools for machine listening, and its program [LISTENING.md](https://listening.md) studies how people and computational agents listen together. From the mountains east of Medellín, [aleph::ch'ixi](https://alephchixi.xyz), which eme founded and directs, carries the same questions into situated and experimental computation. Transdisciplinary study at [The New Centre for Research & Practice](https://thenewcentre.org/people/?person=eme.isaza) informs all of it.
eme has composed and [released music](https://emeiszzz.bandcamp.com/music) since 2008, on labels such as LINE, Dragon's Eye Recordings, 901 Editions and Eilean Rec., and writes songs as [eme Zzz](https://emezzz.com). At [Momoto Studio](https://momoto.wtf) eme produces and masters records for independent labels and mixes multichannel installations. Earlier, eme founded [Designing Sound](https://designingsound.org) and the [Auditum](https://www.youtube.com/@auditumfest/videos) listening festival, co-founded [Éter Lab](https://www.instagram.com/eterlab) with Alejo Henao, and spent thirteen years writing about audio and music technology for [Hispasonic](https://www.hispasonic.com).
- [Full biography](https://www.emeisaza.com/about.md)
- [Contact and public profiles](https://www.emeisaza.com/contact.md)
- [Privacy information](https://www.emeisaza.com/privacy.md)
## selected work
### [Sonic Field](https://www.emeisaza.com/#case-sonic-field)
- Date: 2013–present
- Type: editorial platform / research lab
- Summary: A platform for writing and research about sound and listening, with a lab that builds tools for machine listening.
- Role: co-founder, director, editor-in-chief
- Location: Medellín
- Sources: [sonicfield.org](https://sonicfield.org) / [Sonic Field Labs](https://sonicfield.org/labs) / [listening.md](https://listening.md)
- Related in work: [Sonic Field Labs](https://www.emeisaza.com/#sonic-field-labs) / [LISTENING.md](https://www.emeisaza.com/#listening-md) / [For Centaur Ears: An Algorithmic Listening Manifesto](https://www.emeisaza.com/#for-centaur-ears) / [The Listening Stack](https://www.emeisaza.com/#the-listening-stack) / [Oída](https://www.emeisaza.com/#oida) / [GERM](https://www.emeisaza.com/#germ) / [AKOÚŌ](https://www.emeisaza.com/#akouo-system) / [AuditumSWE](https://www.emeisaza.com/#auditumswe) / [ORAM](https://www.emeisaza.com/#oram) / [Algophony](https://www.emeisaza.com/#algophony) / [The Sonic Matter Framework](https://www.emeisaza.com/#the-sonic-matter-framework) / [Ears of the Field](https://www.emeisaza.com/#ears-of-the-field) / [infinite grain](https://www.emeisaza.com/#infinite-grain)
Sonic Field is an independent platform for writing and research about sound and listening, edited from Medellín. eme co-founded it in 2013 and directs it today. It publishes news, reviews, interviews and essays, keeps public indexes of books, tools and concepts, and runs a lab that builds software for listening. Its subject is how people and machines listen, and what that listening does to culture.
#### Editorial practice
The Journal follows sound wherever it turns up, in news, academic research and audio technology alike, so a book on collective listening and politics can sit beside a new open generative audio model on the same page. For most of its life the site ran on WordPress. When it left WordPress in 2026, the archive held 1,870 published posts, 1,377 of them under eme's author account, including long interview series such as Ears of the Field, on field recording, and infinite grain, on microsound.
Image: The Sonic Field homepage: a featured article banner above a grid of Journal articles, on a dark background.
Caption: The homepage in October 2026, with current Journal writing at the top.
Editorial work now draws on a local research corpus. SonicBrain, a wiki of concepts, people and sources kept on local machines, holds the comparisons and research summaries that stay private, while the public Lexicon links only to verified original articles. Agentic workflows built on that corpus help draft and check records, and each record keeps its sources and its editorial review attached.
Image: The Lexicon index: an alphabetical table of concepts with their type and tags.
Caption: The Lexicon, a public index of concepts and listening practices.
#### Labs
Sonic Field Labs presents itself as open-source infrastructure for machine listening, agentic sound and critical audio exploration. It works as a research community and a center of practice. Built projects are documented under Development and publications gather under Research. Commissioned holds work made with and for others, such as Área de Escucha, a situated process of recording and listening developed for the Museo de Arte Moderno de Medellín (MAMM).
LISTENING.md, published in July 2026, is the research program of the Labs on algorithmic listening. It pairs the manifesto For Centaur Ears with the means to test it: an open agentic listening stack, a living vocabulary, and AuditumSWE, a benchmark for audio-language models that is still in development.
Image: The listening.md site: the title For Centaur Ears in large purple type, subtitled An Algorithmic Listening Manifesto.
Caption: listening.md, where the For Centaur Ears manifesto is published.
#### Built systems
The Listening Stack shows how that infrastructure is put together. Oída is a local listening agent that keeps inspectable evidence of what it heard. GERM cultivates and transforms sound while tracing its lineage through matter, and Akousmata navigates the resulting sonic memory, with provenance and accountable forgetting built in. AKOÚŌ, a multimodal listening system and prompt library, and Earworm, a protocol that carries listening events and their provenance between applications, support the loop.
Image: Diagram: Sound flows to Oída, then GERM, then Akousmata, and an arrow returns to Sound for re-listening. AKOÚŌ sits under Oída and Earworm under GERM.
Caption: The Listening Stack: sound passes through Oída, GERM and Akousmata and returns for re-listening, with AKOÚŌ and Earworm in support.
Other Labs projects carry the same questions elsewhere. ORAM is a local-first instrument for recording, looping and transforming layered sound. Algophony is an open framework for studying how algorithms generate soundscapes and listen to them.
Image: The Sonic Field Labs page: project cards for Oída and GERM beside a development log of recent releases.
Caption: Sonic Field Labs and its development log, 2026.
#### Version 3
Version 3, launched in October 2026, reorganizes the site around its writing, indexes and Labs. The homepage sets current Journal writing beside a dated log of additions to the indexes. The Library and the Lexicon stay distinct kinds of source, each linked to the Tools catalog and to the writing that uses it. Collections and People record relations between works and the people who make them; the STEIM Archives collection, for instance, makes 631 recordings searchable with their participants and sources.
The site is open to agents as well as readers. A public API serves selected records as structured data, pages are available in Markdown, and a contributor skill helps prepare sourced proposals. Accounts and a site agent open gradually. The software is developed by aleph::ch'ixi with Sonic Field.
Earlier versions ran on WordPress under a waveform wordmark, with section names that shifted as the archive grew. In 2016 the menu read Data, Field, Art, Links, Radio and Books; by 2020 it had become Arts, Studies, Data, Radio, Terrain and Bookshelf, with a Spanish section.
Image: The 2016 Sonic Field header: a black waveform wordmark above a menu reading Data, Field, Art, Links, Radio, Books.
Caption: The WordPress header in 2016, from an Internet Archive capture.
Image: The 2020 Sonic Field header: the waveform wordmark beside a menu reading Arts, Studies, Data, Radio, Terrain, Bookshelf and Español.
Caption: The header in 2020, from an Internet Archive capture.
### [aleph::ch'ixi](https://www.emeisaza.com/#case-aleph-chixi)
- Date: 2024–present
- Type: situated computation / experimental media
- Summary: Sound, code, text and image made from the Andes, around ch'ixi thought, planetary computation and sonic fiction.
- Role: founder, director
- Location: Guarne, Antioquia
- Sources: [alephchixi.xyz](https://alephchixi.xyz) / [Bandcamp](https://alephchixi.bandcamp.com) / [GitHub](https://github.com/alephchixi)
- Related in work: [Ch'ixi Agent Skills](https://www.emeisaza.com/#ch-ixi-agent-skills) / [Xynth](https://www.emeisaza.com/#xynth-2) / [un templo en las nubes del algoritmo](https://www.emeisaza.com/#un-templo-en-las-nubes-del-algoritmo-2) / [O + ~](https://www.emeisaza.com/#o) / [aputería](https://www.emeisaza.com/#aputeria) / [luna](https://www.emeisaza.com/#luna) / [¿Sueñan las bichotas con ovejas sintéticas?](https://www.emeisaza.com/#suenan-las-bichotas-con-ovejas-sinteticas) / [¿Es bala o pólvora?](https://www.emeisaza.com/#es-bala-o-polvora) / [chinkay](https://www.emeisaza.com/#chinkay) / [Concierto drone](https://www.emeisaza.com/#concierto-drone) / [Concierto Un momento](https://www.emeisaza.com/#concierto-un-momento) / [Jornada Glaciar](https://www.emeisaza.com/#jornada-glaciar) / [HABITAT.md](https://www.emeisaza.com/#habitat-md) / [AKOÚŌ](https://www.emeisaza.com/#akouo-system)
aleph::ch'ixi is a research and experimentation project in situated computation, based in Guarne, in the mountains east of Medellín. Since 2024 it has made sound, code, text and image from Abya Yala, with eme in its direction. It treats computation as something that happens in a place, among particular people and histories, and asks what software, synthesis and listening become when they are thought from the Andes with their colonial histories in view.
#### Ch'ixi
The name comes from an Aymara word that Silvia Rivera Cusicanqui developed into a way of thinking about coexistence. A ch'ixi color is speckled: from a distance its points look gray, but the contrasting colors never fuse. The project's lexicon defines the term as differences that touch and pull against each other without becoming one substance, and uses it to decide how works, techniques and kinds of knowledge are placed side by side. Ancient and contemporary thought meet media technology on those terms. The lexicon holds forty-seven entries in which Andean concepts such as pacha and taypi sit beside neocybernetics, planetary computation, post-natural ecologies and sonic fiction.
Image: The lexicon entry for Ch'ixi: the term in large serif type, its short definition, a passage on Rivera Cusicanqui's speckled color, and a column listing sources and related terms.
Caption: The entry for ch'ixi in the project's lexicon, with its source in Rivera Cusicanqui (2010).
#### Releases
The catalogue publishes work by the heteronyms gathered around the project. rinri works with gong and modular synthesizer on o, luna and chinkay. NANAY, a group devoted to sonic demonology, released aputería, ¿Sueñan las bichotas con ovejas sintéticas? and ¿Es bala o pólvora?, which eme mastered at Momoto Studio. The Departamento de Exploración Ritmaquínica Interdimensional del Aka Pacha (D.E.R.I.A.P.) programmed the Pre-Tek series of recovered sonic artifacts. *un templo en las nubes del algoritmo*, by 4ndr0m3d4, is an exercise in post-digital mysticism built on a generative synthesizer that runs in the browser.
Image: Eight square album covers in two rows, mostly black, white and pale tones, two with ornamental Andean-style patterns in teal and coral.
Caption: Release covers, 2024 to 2026: o, aputería, luna, ¿Sueñan las bichotas con ovejas sintéticas?, ¿Es bala o pólvora?, chinkay, Pre-Tek I and Pre-Tek II.
#### Code
Software belongs to the same practice. Ch'ixi Skills is a development kit that gives AI agents decolonial capacities through skills and rewritten agent identities, with methods drawn from ch'ixi epistemology and Rivera Cusicanqui's work. Anatman SDK examines the cosmological assumptions built into agent design, the values agents declare and where those values fail under conflict. Xynth is a drone synthesizer inspired by the Xyn of Reza Negarestani's *Cyclonopedia*; its web version ties sound parameters to activity on blockchain networks. aleph::ch'ixi was also the development and research platform behind Sonic Field Labs, and it builds AKOÚŌ, a multimodal listening system for agentic workflows.
Image: The Xynth interface: dark panels with a falling orange line graph, a soft three-dimensional form, parameter sliders and a radial transaction display.
Caption: Xynth's web interface, where blockchain activity drives a drone synthesizer.
Image: The aleph::ch'ixi catalogue: a dark page listing projects with thumbnails, years and format tags, under filters for audio, text, code, visual and performance.
Caption: The catalogue at alephchixi.xyz, filterable by audio, text, code, visual and performance.
#### Listening in place
The live work happens close to home. In February 2025, Concierto Drone presented a quadraphonic set for gong and modular synthesizer at Persona, in central Medellín. Concierto Un momento was a deep-listening session under the dome of the Planetario de Medellín, made with Exploratorio and Éter Lab. Jornada Glaciar, in April 2025, gave a day to slow listening in the mountains of Santa Elena, coordinated with Coocine, Sonic Field, Éter Lab and Hábitat Sonoro, with performances, audiovisual works, conversation and a shared meal.
Image: Poster for Glaciar, a day of slow listening in the mountain on 27 April 2025, listing the participating artists over a misty mountain landscape.
Caption: Poster for Jornada Glaciar, Santa Elena, April 2025.
Image: Poster for Concierto Un momento in the Órbitas Sonoras series, with the logos of the Planetario de Medellín and Exploratorio over a long-exposure photograph of star trails.
Caption: Poster for Concierto Un momento at the Planetario de Medellín, 2025.
#### Writing and what comes next
Texts carry much of the theory. HABITAT.md is an editorial portal on the contemporary cybernetic habitat, written from ecological, cosmotechnical and decolonial perspectives. A book-length essay in Spanish is in draft; it reads the colonial genealogies of listening together with planetary computation, sonic fiction and the engineering of agents. New releases, tools and performances are being prepared for 2026 and 2027.
Image: The aleph::ch'ixi homepage: the cover of Pre-Tek II, a coral square with an ornamental pattern, above the title in large serif type.
Caption: alephchixi.xyz, featuring Pre-Tek II, 2026.
### [Éter Lab and Auditum Fest](https://www.emeisaza.com/#case-eter-lab)
- Date: 2012–2022
- Type: laboratory / label / festival
- Summary: Ten years of a multimedia laboratory in Medellín: installations, a record label, exhibitions and a listening festival.
- Role: co-founder, director, curator
- Location: Medellín, with work in Bogotá and Pereira
- Context: Parque Explora and Exploratorio, Museo de Arte Moderno de Medellín (MAMM), Jardín Botánico de Medellín, Universidad de Antioquia
- Sources: [Archived Auditum site](https://web.archive.org/web/20260317153420/https://auditum.eter-lab.net/) / [Auditum on YouTube](https://www.youtube.com/@auditumfest/videos) / [Ediciones Éter on Bandcamp](https://eterlab.bandcamp.com) / [Éter on Instagram](https://www.instagram.com/eterlab)
- Related in work: [Ediciones Éter](https://www.emeisaza.com/#ediciones-eter) / [Auditum, plataforma de escuchas](https://www.emeisaza.com/#auditum-plataforma-de-escuchas) / [Semana de la Escucha 2017](https://www.emeisaza.com/#semana-de-la-escucha-2017) / [Auditum 2018: Semana de la Escucha](https://www.emeisaza.com/#auditum-2018-semana-de-la-escucha) / [Hipnagogia](https://www.emeisaza.com/#exposicion-hipnagogia) / [Escuchas: una selección de arte sonoro actual](https://www.emeisaza.com/#escuchas-lab3) / [Ecos](https://www.emeisaza.com/#ecos) / [Darién (LAB3)](https://www.emeisaza.com/#darien-lab3) / [Darién: simbiosis](https://www.emeisaza.com/#darien-simbiosis) / [ALEPH ℵ0](https://www.emeisaza.com/#aleph-0) / [arché](https://www.emeisaza.com/#arche) / [Microcosmos](https://www.emeisaza.com/#microcosmos) / [Valle etéreo](https://www.emeisaza.com/#valle-etereo) / [Valle silente](https://www.emeisaza.com/#valle-silente) / [Kairós](https://www.emeisaza.com/#kairos) / [Noumena](https://www.emeisaza.com/#noumena) / [Upallay](https://www.emeisaza.com/#upallay)
Éter was a multimedia laboratory in Medellín, open to image, sound and technology, that worked through installations, concerts, publications and events in the city. eme co-founded it with Alejo Henao in 2012 and directed it for several years, then stayed on as curator of the label and the festival until 2022. Across those ten years the work moved between curation and art direction, composition and sound design, audiovisual production and writing, often for museums and cultural institutions, mostly in Medellín and also in Bogotá and Pereira.
#### Ediciones Éter
The label was the lab's longest thread. Under eme's curatorial direction it published more than thirty releases by local and international artists working in sound art, experimental music and field recording, and it gave a home to some of eme's own records, among them *Kairós*, made in Medellín from field recordings and found objects, and *Noumena* and *Upallay* in the Akasha series. Éter still publishes today and describes itself as a listening house in the mountains.
#### Auditum
Auditum began in 2013 as a collective initiative between Éter and the Exploratorio of Parque Explora, to bring World Listening Day to Medellín, and eme is credited as its founder. It grew into the Semana de la Escucha, a free yearly week of concerts, installations, talks and sound actions in public space. The 2017 edition, Escuchar el suelo, ran in July across MAMM, Exploratorio and the Jardín Botánico, with a sonology panel and deep listening workshops. The 2018 edition, curated and produced by eme, brought concerts by Jorge Haro, installations by Leonel Vásquez and talks with France Jobin.
Image: Poster for Escuchar el suelo, Semana de la escucha, 18 to 22 July 2017: mountains rendered as floating teal and white rock forms, with the Exploratorio and Parque Explora logos.
Caption: Poster for Escuchar el suelo, the 2017 Semana de la Escucha.
In 2018 the festival became a platform with a wider program across the Aburrá Valley, supported over the years by MAMM, the Museo de Antioquia, the Centro de Desarrollo Cultural Moravia, the Jardín Botánico, the Universidad de Antioquia, Plataforma Bogotá and Pro Helvetia. By its later editions, Multitud in 2021 and Intersecciones in 2022, around a hundred artists, musicians and researchers had taken part. The festival's own statement put listening forward as a way toward awareness, memory and reconciliation in a country living through a post-conflict period.
Image: A darkened audience under a deep blue projection dome, with the Auditum Semana de la Escucha 2018 logo in white.
Caption: Auditum 2018, Semana de la Escucha.
#### Exhibitions
Curation reached into museums and universities. Escuchas, at LAB3 in the Museo de Arte Moderno de Medellín in 2015, gathered twelve works by international sound artists, among them France Jobin, Yann Novak and David Vélez, in the museum's listening room, and the ECOS cycle, run between LAB3 and Éter, became a study group on sound art practice. In 2018 eme named, conceived and curated Hipnagogia, an exhibition of sonic arts about the state between sleep and waking. It brought together ten works by Colombian artists for two weeks at the Crealab of the Facultad de Artes of the Universidad de Antioquia, with spatial design by Pedro Arbeláez, so that the pieces sounded as a single spatial composition.
Image: Cover of the Escuchas catalogue: a grainy grey photograph with the title in yellow and white, the LAB3 label and the MAMM logo.
Caption: Catalogue cover for Escuchas: una selección de arte sonoro actual, LAB3 at MAMM, 2015.
#### Installations and audiovisual work
The lab also made its own pieces. Darién, at LAB3 in 2017, invited visitors to lie inside the rhythms of the jungle, and a later version for six channels and three screens set the insect against the scale of the territory. ALEPH ℵ0, with Camilo Tamayo and Rossana Uribe, explored matter and perception through audiovisual distortion. arché, an audio-reactive light installation conceived by eme and made with the duo DesFase for the Fotosíntesis festival at Exploratorio, built a small architecture of vibration from light and sound. Other works went outdoors: Valle Etéreo hid speakers in the Jardín Botánico so visitors could search for invisible acoustic creatures, and Valle Silente moved into public space.
Image: An immersive installation: a person reclines beneath a translucent canopy lit with green projected textures, under the title Darién.
Caption: Darién at LAB3, Museo de Arte Moderno de Medellín, 2017.
Image: Two visitors seen from behind, facing a frame of red light tubes in a smoke-filled dark room.
Caption: arché, audio-reactive light installation with DesFase, Fotosíntesis festival, 2018.
Image: A still from ALEPH ℵ0: luminous green and amber forms suspended in dark blue liquid.
Caption: Still from ALEPH ℵ0, with Camilo Tamayo and Rossana Uribe, 2017.
### [Momoto Studio](https://www.emeisaza.com/#case-momoto-studio)
- Date: 2019–present
- Type: production / mastering / sound design
- Summary: A studio for composition, recording, production, mixing, mastering and sound design, from electronic records to multichannel installations.
- Role: direction, production, mixing and mastering engineer
- Location: Medellín
- Context: Museo de Arte Moderno de Medellín (MAMM), LAB3, Parque Explora, and independent electronic music labels
- Sources: [momoto.wtf](https://momoto.wtf)
- Related in work: [Los sonidos no caen al suelo](https://www.emeisaza.com/#los-sonidos-no-caen-al-suelo) / [Antigravedad](https://www.emeisaza.com/#antigravedad) / [Cronotopía](https://www.emeisaza.com/#cronotopia) / [Interdependencia](https://www.emeisaza.com/#interdependencia) / [flor](https://www.emeisaza.com/#flor-2) / [trébol](https://www.emeisaza.com/#trebol-2) / [eme Zzz 2025 singles](https://www.emeisaza.com/#eme-zzz-2025-singles) / [¿Es bala o pólvora?](https://www.emeisaza.com/#es-bala-o-polvora) / [luna](https://www.emeisaza.com/#luna) / [chinkay](https://www.emeisaza.com/#chinkay)
Momoto Studio is where eme composes, records, produces, mixes and masters, and where sound design is made for records, installations and film. It grew out of eme's own practice in experimental music and installation, and that background shapes how the studio hears a mix or a master: as a matter of texture and space as much as of level and balance. At the October 2026 content review, its portfolio listed 123 projects since 2018 for 36 artists, labels and institutions.
#### Mastering
Mastering is the largest part of the work, present in 121 of those projects. Most come from independent electronic music labels in Colombia and beyond: fourteen releases for Artificio and fifteen for Shuffle Valley, along with records for Milagrosa Music Media, Plasmodia, Subsuelo, Akasha, The Baker, Didacta and Backdoor Records. Éter, the label eme curated for years, has sent more than a dozen releases through the studio. The range runs from club EPs and compilations to slow, quiet records made for close listening.
Image: Twelve square album covers in two rows, ranging from landscape photographs and collage to graphic abstractions and an illustrated cityscape.
Caption: A selection of releases mastered at Momoto, 2019 to 2025, for Artificio, Shuffle Valley, Milagrosa Music Media, Plasmodia, Éter, Subsuelo, Akasha, The Baker, Didacta, O C I Ø, NEA$ and Fuerzas Sónicas Unidas.
#### Production and mixing
Some records are made in the studio from the first sound to the master. Antigravedad, by Roedor, and Cronotopía, for Monofónicos, were produced, mixed and mastered there, as were eme's own albums and the songs released as eme Zzz. For aleph::ch'ixi the studio mixes and masters most of the catalogue, including ¿Es bala o pólvora?, luna and chinkay.
#### Installations
Mixing for a room is a different craft from mixing for headphones, and the studio's installation work is where that shows. For Los sonidos no caen al suelo, at the Museo de Arte Moderno de Medellín in 2019, the studio composed, produced and mixed a sound installation about the materiality of sound and how it persists in space. Tiempo para escucharnos, at LAB3 in 2022, needed a ten-channel mix for an immersive installation on ancestral listening and the sound of the territory. In 2025 the studio composed and designed the sound for Un cuerpo traductor, an interactive installation at Parque Explora. Sound design for a short film belongs to the same line of work.
Image: A dark room with a single low armchair lit by a spotlight, the listening space of the installation.
Caption: Los sonidos no caen al suelo, Museo de Arte Moderno de Medellín, 2019.
Image: A group of listeners seated around the edges of a dark room with speakers on metal trusses, a circle of light on the floor.
Caption: Tiempo para escucharnos, a ten-channel installation mix at LAB3, 2022.
Image: A room lined with translucent hanging panels lit in yellow and green projections, reflected in a glossy floor.
Caption: Un cuerpo traductor, interactive installation at Parque Explora, 2025.
### [Writing and editorial](https://www.emeisaza.com/#case-writing-editorial)
- Date: 2008–present
- Type: editor / writer / interviewer
- Summary: Eighteen years of writing and editing about sound: sound design blogs, music technology news, interviews and essays.
- Role: founder, editor, writer
- Context: Designing Sound, Hispasonic, Sonic Field, CLOT Magazine, VICE en español, Caja Negra
- Sources: [Designing Sound](https://designingsound.org) / [Fotograma Sonoro on Hispasonic](https://www.hispasonic.com/blogs/fotograma-sonoro) / [Sonic Field](https://sonicfield.org)
- Related in work: [Designing Sound](https://www.emeisaza.com/#designing-sound) / [Featured Sound Designers](https://www.emeisaza.com/#featured-sound-designers) / [Video game sound interviews](https://www.emeisaza.com/#video-game-sound-interviews) / [Fotograma Sonoro](https://www.emeisaza.com/#fotograma-sonoro) / [Guía de diseño sonoro](https://www.emeisaza.com/#guia-de-diseno-sonoro) / [Ears of the Field](https://www.emeisaza.com/#ears-of-the-field) / [infinite grain](https://www.emeisaza.com/#infinite-grain) / [CLOT Magazine](https://www.emeisaza.com/#clot-magazine) / [Voltages, Buddhism and an infinite listening: a tribute to Éliane Radigue](https://www.emeisaza.com/#voltages-buddhism-and-an-infinite-listening-a-tr) / [Post-pandemic time & the New Chronologies of Sound](https://www.emeisaza.com/#post-pandemic-time-the-new-chronologies-of-sound) / [Lucrecia Dalt: «Me gusta explorar nuevas formas de perversión»](https://www.emeisaza.com/#lucrecia-dalt-vice) / [Estasis sonora](https://www.emeisaza.com/#estasis-sonora) / [For Centaur Ears: An Algorithmic Listening Manifesto](https://www.emeisaza.com/#for-centaur-ears)
Writing runs through all of eme's work, and for long stretches it was the work itself. Since 2008 eme has founded blogs, edited news, interviewed sound designers and musicians, and written essays on listening, in English and Spanish, for sites that range from a sound design community to a philosophy publisher.
#### Designing Sound
eme started Designing Sound in 2008 as a blog about the art and technique of sound design, and it grew into one of the best known sound design resources online. Over its first years eme wrote more than a thousand posts of news, tips, videos and tutorials, and interviewed the people behind the sound of films, games and interactive media. The Featured Sound Designer series centered on figures such as Randy Thom and Tim Prebble, and a parallel series spoke with audio teams in video games. eme then handed the site to a community of editors who carried it on, and kept contributing articles such as Designing Silence and An acousmatic invitation in 2014.
Image: A Designing Sound post titled The Story Behind Designing Sound, dated September 9, 2010, under the green Designing Sound logo.
Caption: Designing Sound in 2010, with eme's post on how the site began.
#### Hispasonic and Fotograma Sonoro
For thirteen years, from 2008 to 2021, eme edited news and features on audio and music technology for Hispasonic, the largest Spanish-language community on audio production, writing thousands of posts. In June 2010 eme opened Fotograma Sonoro there, a Spanish-language blog on telling stories with sound. It published guides to sound design and field recording, interviews, close readings of films and their sound, and notes on history, theory and terminology. When the blog returned in 2013 it widened toward the meeting of philosophy, art, design and technology around sound, and later series such as the Guía de diseño sonoro kept that teaching line. Longer essays from the blog include [Los fantasmas de la escucha](https://www.hispasonic.com/blogs/fantasmas-escucha-introduccion-arte-sonoro/41383), an introduction to sound art, and [El oído mental](https://www.hispasonic.com/blogs/oido-mental-generando-conciencia-sonora/37175), on cultivating sonic awareness.
Image: A 2010 Designing Sound post announcing Fotograma Sonoro, with a screenshot of the original green Spanish-language blog.
Caption: Designing Sound announces Fotograma Sonoro, June 2010.
#### Interviews and essays
At Sonic Field the interviews turned toward field recording in Ears of the Field and toward microsound in infinite grain. In 2017 eme interviewed Lucrecia Dalt for VICE en español about her conceptual process and her custom synthesis. In 2020 the Caja Negra blog published Estasis sonora, an essay on ambient music and the sensibility of cyberculture, with a reading of David Toop. For CLOT Magazine in 2022 eme interviewed Vladislav Delay, Helene Vogelsinger and Bienoise, profiled the labels LINE, Raster and Hallow Ground, and wrote essays on Éliane Radigue and on post-pandemic time. Translations into Spanish, of texts on ambient music, rural futurism and gender synthesis, belong to the same practice. The most recent text is For Centaur Ears, the algorithmic listening manifesto published in 2026 through LISTENING.md.
Image: A VICE en español article titled Lucrecia Dalt: Me gusta explorar nuevas formas de perversión, July 5, 2017.
Caption: Interview with Lucrecia Dalt, VICE en español, 2017.
Image: The Caja Negra blog page for Estasis sonora, 22 June 2020, with a photograph of David Toop at a table of instruments.
Caption: Estasis sonora on the Caja Negra blog, 2020.
### [Compositions and releases](https://www.emeisaza.com/#case-releases)
- Date: 2008–present
- Type: composition / recordings / live
- Summary: Music from field recordings, sine waves and found objects, released since 2008 on labels for sound art and experimental music.
- Role: composition, recording, production
- Context: LINE (United States), Dragon's Eye Recordings (United States), 901 Editions (Italy), Eilean Rec. (France), White Paddy Mountain (Japan), Audiotalaia (Spain), Nova Fund (Mexico), Ediciones Éter and Akasha (Colombia)
- Sources: [Bandcamp](https://emeiszzz.bandcamp.com/music) / [Macondo on LINE](https://lineimprint.bandcamp.com/album/macondo) / [Māyopama on 901 Editions](https://901editions.bandcamp.com/album/m-yopama) / [Tempiternidad on Dragon's Eye](https://dragonseyerecordings.bandcamp.com/album/tempiternidad) / [Uji on Eilean Rec.](https://eileanrec.bandcamp.com/album/uji)
- Related in work: [Macondo](https://www.emeisaza.com/#line-092-edition-line) / [Māyopama](https://www.emeisaza.com/#mayopama) / [Tempiternidad](https://www.emeisaza.com/#tempiternidad) / [Uji](https://www.emeisaza.com/#uji) / [Neti neti](https://www.emeisaza.com/#neti-neti) / [Levedad](https://www.emeisaza.com/#levedad) / [Kairós](https://www.emeisaza.com/#kairos) / [Noumena](https://www.emeisaza.com/#noumena) / [Upallay](https://www.emeisaza.com/#upallay) / [flor](https://www.emeisaza.com/#flor-2) / [trébol](https://www.emeisaza.com/#trebol-2) / [Los sonidos no caen al suelo](https://www.emeisaza.com/#los-sonidos-no-caen-al-suelo)
eme has composed and released music since 2008. Most of it begins with field recordings, sine waves, found objects and acoustic instruments, worked with microsound techniques until mass, texture, grain and density carry the piece. Two questions return across the records: how sound holds time, and where sound sits between the material and the immaterial. Earlier solo work carried other names, Isz, Roedor and Arpa among them, and songs appear as [eme Zzz](https://emezzz.com).
#### On other labels
Much of the catalogue was published by independent labels devoted to sound art and experimental music. *Uji*, on Eilean Rec. in 2014, sets charango, pan flutes, harmonica and a music box among field recordings and sine waves; its title is Dōgen's word for being-time. *Tempiternidad*, on Dragon's Eye Recordings in 2015, was made with a laptop and a handheld recorder in the mountains of Antioquia between April and June of that year, after Raimon Panikkar's idea of tempiternity. *neti neti*, on Nova Fund in 2016, works with recordings made in and around Montevideo's Metropolitan Cathedral and its organ. *Māyopama*, on 901 Editions in 2017, was composed mostly from recordings in Rome, Naples, Benevento and rural Fortore, some of them made during the Liminaria residency. *Macondo*, on LINE in 2017, takes the town of *One Hundred Years of Solitude* as a model of a place that is and is not, and weaves field recordings, found objects, synthesizers and electromagnetic fields gathered since 2012 for the ALEPH research with Rossana Uribe and Camilo Tamayo.
Image: Ten square album covers in two rows: soft abstract photographs in grey, blue, sand and teal, a few with small serif titles.
Caption: Uji, Levedad, Tempiternidad, neti neti, Kairós, Māyopama, Macondo, Noumena, Upallay and Flor, 2014 to 2021.
#### On Éter
Éter published the records closest to home. *Levedad*, in 2014, gathers six pieces made in Medellín from field recordings, instruments and found objects. *Kairós* followed in 2016, *Noumena* in 2018 and *Upallay* in 2019, the last two in the Akasha series, where microsound, ambient and field recording meet poetry and mysticism. *Flor*, in 2021, is an album of songs released as eme Zzz, a line that continued with the *trébol* EP in 2024 and a run of singles in 2025.
#### In the room
The compositions also take the form of installations and concerts. *Los sonidos no caen al suelo*, at the Museo de Arte Moderno de Medellín in 2019, is a multichannel acousmatic installation built on a forty-minute composition from material gathered and processed over more than ten years. In concert the approach stays acousmatic: eme plays from the middle of the audience or behind it, with little light and several channels, so that the room and the sound are what people attend to.
Image: A dark room with a single low armchair lit by a spotlight, the listening space of the installation.
Caption: Los sonidos no caen al suelo, Museo de Arte Moderno de Medellín, 2019.
#### What listeners wrote
Reviewers tended to hear the care in the detail. Writing on *Uji* for [Fluid Radio](https://www.fluid-radio.co.uk/2014/09/miguel-isaza/) in 2014, Matt Gilley singled out soundscapes "that come with a shadow of the unknown, a little discord, and the attendant thrill of that." Lee Rosevere, at [Make Your Own Taste](https://makeyourowntaste.com/2014/09/08/miguel-isaza-uji-2014/), found the same album "extremely inventive and hauntingly beautiful" and "recommended for quiet times." On *Tempiternidad*, Brian Housman of [Stationary Travels](https://stationarytravels.wordpress.com/2015/11/22/travelogue-2015-48-dragons-eye-recordings/) heard sounds that were "pristine, crisp, and articulate," with drones that fall away into "a transportive sense of environmental awareness," and called it "an exquisitely crafted collection that deserves to flow through audiophile quality gear to be fully appreciated." eme has also spoken about the practice behind the records, among other places in the Creative Field Recording series A Month of Field Recordists in 2016.
## portfolio
### [The Sonic Matter Framework](https://www.emeisaza.com/#the-sonic-matter-framework)
- Date: 2026-08-09
- Type: framework
- Filters: systems
- Summary: The open framework behind GERM's microsound and planetary computation modules, joining the MASA protocol and the Cosmoaudition system.
- Image: Diagram of the Sonic Matter Framework: GERM above the MASA protocol, the Cosmoaudition system and an audio runtime
- Status: active
- Context: Sonic Field Labs
- Sources: [Read](https://sonicfield.org/labs/sonic-matter-framework)
It joins two project-agnostic systems, the [MASA](https://www.emeisaza.com/#masa) protocol and the [Cosmoaudition](https://www.emeisaza.com/#cosmo-audition) system, which turn sources, measurements and attributed observations into typed signals, mappings and routes. Either can be built into another instrument, archive or installation. Sonic Field Labs released it on 9 August 2026, with [GERM](https://www.emeisaza.com/#germ) as its reference integration.
### [For Centaur Ears: An Algorithmic Listening Manifesto](https://www.emeisaza.com/#for-centaur-ears)
- Date: 2026-07-26
- Type: manifesto
- Filters: editorial
- Summary: Algorithmic listening manifesto published through LISTENING.md.
- Image: The title For Centaur Ears over a pale lavender field of faceted forms
- Context: LISTENING.md
- Sources: [Read](https://listening.md/manifesto)
The manifesto opens LISTENING.md. It argues for centaur ears, the shared listening of people and computational agents, and for an agentic acoulogy that keeps algorithmic listening situated and accountable. It sits beside the [Listening Stack](https://www.emeisaza.com/#the-listening-stack) and the [AuditumSWE](https://www.emeisaza.com/#auditumswe) benchmark.
### [Litvrgy en La Pascasia](https://www.emeisaza.com/#litvrgy)
- Date: 2026-06-05
- Type: conversation / concert
- Filters: live
- Summary: An evening at La Pascasia in Medellín on 5 June 2026 with Litvrgy, the transcendental black metal project of Haela Ravenna Hunt-Hendrix.
- Image: Poster for Litvrgy at La Pascasia, Medellín, 5 June 2026
- Context: Muerte a la Miseria, La Pascasia, Salas Abiertas
- Location: La Pascasia, Medellín
- Sources: [aleph::ch'ixi](https://alephchixi.xyz/proyectos/litvrgy-la-pascasia/)
The night set out to inhabit the dimensions of Transcendental Qabbala, Hunt-Hendrix's intellectual and artistic system. It opened with a conversation between eme and Hunt-Hendrix, continued with [NANAY](https://www.emeisaza.com/#aputeria) and closed with Litvrgy. Muerte a la Miseria and La Pascasia presented it within Salas Abiertas, with free entry.
### [Xynth](https://www.emeisaza.com/#xynth-2)
- Date: 2026-05-03
- Type: album
- Filters: composition, systems
- Summary: Four recordings of Xynth, an instrument by NANAY that sonifies blockchain data, released on aleph::ch'ixi in May 2026.
- Image: Cover of Xynth: a dark gold knot on black
- Role: research / development / recording / mixing
- Artist / project: NANAY
- Context: aleph::ch'ixi (CH'IXI011)
- date: Release: 3 May 2026. The earlier project date remains under review.
- Sources: [Listen](https://alephchixi.bandcamp.com/album/xynth) / [xynth.alephchixi.xyz](https://xynth.alephchixi.xyz/)
NANAY describes Xynth as an instrument of cosmotechnical sonification. Bitcoin's hashrate drives its core oscillators, memecoin volatility its modulation, and network congestion on Ethereum and Solana its spatial distortion. The four tracks document the machine left to dream, glitch and terrify on its own, treating the blockchain less as a ledger than as a force reshaping the earth. A generative, playable version runs in the browser. eme recorded and mixed the release at Momoto Studio.
### [AKOÚŌ](https://www.emeisaza.com/#akouo-system)
- Date: 2026
- Type: listening contract / skill library
- Filters: systems
- Summary: An operational listening contract and skill library for agentic audio workflows. It asks how an agent should listen, what each mode of listening reveals and hides, and what must stay unknown.
- Image: The akouo repository card on GitHub, with its description and the Sonic Field Labs mark
- Sources: [GitHub](https://github.com/sonicfieldlabs/akouo)
It works as a portable skill layer that agents such as Claude, Gemini or OpenCode can load to carry out accountable, structured sonic inquiry, keeping listening modes explicit and claims within a strict taxonomy. It is part of [The Listening Stack](https://www.emeisaza.com/#the-listening-stack).
### [Algophony](https://www.emeisaza.com/#algophony)
- Date: 2026
- Type: algorithmic soundscapes / framework
- Filters: systems
- Summary: Open framework for studying how algorithms generate, imitate, distort, classify, and listen to soundscapes.
- Image: Algophony title card, a sparse white field with fine lines
- Sources: [Sonic Field Labs](https://sonicfield.org/labs/algophony)
Each generated environment is treated as a research object, with its prompt, render, listening report, score and review kept together. The framework covers biophony, anthrophony and technophony: the soundscape as produced, mediated, reconstructed or re-heard by computational systems.
### [AuditumSWE](https://www.emeisaza.com/#auditumswe)
- Date: 2026–present
- Type: benchmark
- Filters: systems
- Summary: An audio-language benchmark in development within LISTENING.md, for examining how machines listen.
- Image: The Sonic Field journal entry LISTENING.md: A Manifesto for Algorithmic Listening
- Status: active
- Sources: [LISTENING.md](https://listening.md) / [Sonic Field journal](https://sonicfield.org/journal/listening-md-manifesto)
It belongs to [LISTENING.md](https://www.emeisaza.com/#listening-md), which gathers the manifesto [For Centaur Ears](https://www.emeisaza.com/#for-centaur-ears), the [Listening Stack](https://www.emeisaza.com/#the-listening-stack), a working vocabulary and this benchmark into one program on how machines listen. Sonic Field announced it in July 2026, while the benchmark was still being built.
### [Cosmoaudition](https://www.emeisaza.com/#cosmo-audition)
- Date: 2026–present
- Type: sonification system
- Filters: systems
- Summary: A system for situated observation and local sonification. It turns bounded cosmic, atmospheric, geophysical and ecological observations into attributed modulation signals that any sonic project can use, and plays them as a live instrument.
- Image: The cosmoaudition repository card on GitHub, with its description and the Sonic Field Labs mark
- Status: active
- Sources: [GitHub](https://github.com/sonicfieldlabs/cosmoaudition)
Its local gateway publishes normalized, attributed and epistemically typed signals over HTTP, Server-Sent Events, OSC, MIDI and MASA records, so other projects can use them without inheriting the code. Within the [Sonic Matter Framework](https://www.emeisaza.com/#the-sonic-matter-framework) it works alongside the [MASA](https://www.emeisaza.com/#masa) protocol.
### [GERM](https://www.emeisaza.com/#germ)
- Date: 2026–present
- Type: generative environment
- Filters: systems
- Summary: A generative modular environment for cultivating, transforming and tracing sound through matter and lineage, released by Sonic Field Labs as a public alpha.
- Image: The GERM page on Sonic Field Labs: a dark interface of modules and a waveform
- Status: active
- Context: The Listening Stack
- Sources: [Sonic Field Labs](https://sonicfield.org/labs/germ)
GERM treats sound as matter that can be generated, granulated, mutated, routed, listened to, cultivated and traced. It is the reference integration of the [Sonic Matter Framework](https://www.emeisaza.com/#the-sonic-matter-framework) and works with the [Listening Stack](https://www.emeisaza.com/#the-listening-stack). Like the other Labs tools it is local-first and open source.
### [LISTENING.md](https://www.emeisaza.com/#listening-md)
- Date: 2026
- Type: research program
- Filters: systems
- Summary: Research program for algorithmic acoulogy and computational listening.
- Image: LISTENING.md: a rendered landscape of iridescent folds
- Sources: [listening.md](https://listening.md)
LISTENING.md brings together four parts: For Centaur Ears, an algorithmic listening manifesto; The Listening Stack, an open agentic listening stack; a benchmark for audio models; and an open reference for studying how people and computational agents listen together and to each other.
### [MASA](https://www.emeisaza.com/#masa)
- Date: 2026–present
- Type: protocol
- Filters: systems
- Summary: A local-first, language-neutral protocol for describing, listening to, granulating, dissecting and exchanging sound as matter.
- Image: The MASA repository card on GitHub, with its description and the Sonic Field Labs mark
- Status: active
- Sources: [GitHub](https://github.com/sonicfieldlabs/MASA)
MASA, a Sound Matter Aware protocol, gives any system a shared contract for measuring, transforming, generating and exchanging sound as matter, without confusing an audio file, a physical event, a perceptual account and a computational claim. It is MIT-licensed, comes with command-line, MCP and agent tooling, and underlies the [Sonic Matter Framework](https://www.emeisaza.com/#the-sonic-matter-framework).
### [Oída](https://www.emeisaza.com/#oida)
- Date: 2026–present
- Type: listening agent
- Filters: systems
- Summary: A local listening agent for inspectable evidence, conversation, memory and re-listening, built on the Listening Stack.
- Image: The Oída page on Sonic Field Labs, with its dashboard of listening events
- Status: active
- Context: The Listening Stack
- Sources: [Sonic Field Labs](https://sonicfield.org/labs/oida)
Oída gathers the AKOÚŌ listening contract, Earworm's provenance and memory protocol and the Akousmata library behind one local daemon, dashboard, command line and API. It can listen through its own audio engine or accept perception from an audio-capable host, and both routes become the same structured record of claims and evidence. It is a public alpha from [Sonic Field Labs](https://www.emeisaza.com/#sonic-field-labs).
### [OpenMonk](https://www.emeisaza.com/#openmonk)
- Date: 2026
- Type: synthetic voice instrument
- Filters: systems
- Summary: Synthetic vocal instrument for contemplative listening.
- Image: The openmonk interface: a breathing circle and controls on white
- Sources: [HABITAT.md](https://habitatmd.net/es/monk)
A tool designed for deep listening and meditation through synthetic voices.
### [ORAM](https://www.emeisaza.com/#oram)
- Date: 2026
- Type: performance instrument
- Filters: systems
- Summary: A local-first performance instrument for recording, looping, transforming, listening to and generating layered sound, named after Daphne Oram.
- Image: The ORAM interface: stacked green waveforms on a dark screen
- Sources: [ORAM — Sonic Field Labs](https://sonicfield.org/labs/oram)
ORAM began as a speech-operated looper in the terminal and now joins a Python instrument, a local dashboard and daemon, and a native macOS app. It takes its name and its epigraph from Daphne Oram: "We seem to have tuned circuits within us."
### [Sonic Field Labs](https://www.emeisaza.com/#sonic-field-labs)
- Date: 2026
- Type: research unit
- Filters: systems
- Summary: Sonic Field's research unit: open instruments and frameworks for machine listening, agentic sound and accountable audio computation.
- Image: Sonic Field Labs logo: a waveform inside an orbit
- Sources: [sonicfield.org/labs](https://sonicfield.org/labs)
Sonic Field Labs is Sonic Field's experimental research unit for sound, listening, audio technologies and sonic culture, drawing on acoustics, acousmatics, signal processing, cybernetics, artificial intelligence and listening studies. Its open repositories, among them [Algophony](https://www.emeisaza.com/#algophony), [ORAM](https://www.emeisaza.com/#oram), [GERM](https://www.emeisaza.com/#germ), [Oída](https://www.emeisaza.com/#oida) and [The Listening Stack](https://www.emeisaza.com/#the-listening-stack), are developed with [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi).
### [The Listening Stack](https://www.emeisaza.com/#the-listening-stack)
- Date: 2026–present
- Type: listening infrastructure
- Filters: systems
- Summary: The open code infrastructure behind Oída: AKOÚŌ structures claims, Earworm routes context and provenance, and Akousmata holds sonic memory.
- Image: The Listening Stack diagram: listening modules connected in a loop
- Status: active
- note: Oída, GERM, Akousmata, AKOÚŌ, and Earworm
- Sources: [sonicfield.org/stack](https://sonicfield.org/stack)
The Listening Stack is the reusable, project-agnostic code behind [Oída](https://www.emeisaza.com/#oida). [AKOÚŌ](https://www.emeisaza.com/#akouo-system) sets how claims about sound are made, Earworm carries context and provenance between tools, and Akousmata keeps a sonic memory beneath them. It is open, local-first and in active development, meant to keep evidence, provenance and lineage intact across agentic audio workflows.
### [un templo en las nubes del algoritmo](https://www.emeisaza.com/#un-templo-en-las-nubes-del-algoritmo-2)
- Date: 2026
- Type: generative audiovisual
- Filters: audiovisual, systems
- Summary: Post-digital mystical exercise using a generative synthesizer built inside the browser to create an audiovisual space of retreat from navigation data.
- Image: Un templo en las nubes del algoritmo: a pink and white glow
- Role: creation
- Sources: [Generative version](https://templo.alephchixi.xyz/)
Post-digital mystical exercise using a generative synthesizer built inside the browser to create an audiovisual space of retreat from navigation data such as network latency, battery status, cursor acceleration, and time. The project seeks an apophatic religiosity from the cyborg, holographic, data-based condition. Here mediation results in digital plasticity that translates into a listening and visualization space oriented toward a cyber-mystical encounter. A way to keep sacred silence alive inside the robot. The Bandcamp version gathers different hours, moments, and configurations of the algorithm on the same computer. It can be heard in a continuous 20-minute sweep in which different layers of the mutantexture generated by the temple mutate. A generative version is also available that can run in any browser.
### [Jornada Glaciar](https://www.emeisaza.com/#jornada-glaciar)
- Date: 2025-04-27
- Type: listening day
- Filters: live, curatorial
- Summary: A day of slow listening in the mountains of Santa Elena in April 2025, coordinated with Coocine, Sonic Field, Éter Lab and Hábitat Sonoro, with performances, audiovisual works, conversation and a shared meal.
- Image: Poster for Glaciar, a day of slow listening in the mountain, listing the participating artists over a misty landscape
- Context: aleph::ch'ixi
- Location: Santa Elena, Medellín
- Sources: [Project](https://alephchixi.xyz/proyectos/jornada-glaciar/)
The poster lists David Vélez, Eco Errazuriz and Ensamble Fisura, Ediciones Éter, Magenta, Máquinas Mestizas, rinri and ross, for Sunday 27 April 2025 at Coocine, in the vereda El Plan. It was presented by [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi).
### [Concierto drone](https://www.emeisaza.com/#concierto-drone)
- Date: 2025-02-28
- Type: concert
- Filters: live
- Summary: A quadraphonic concert by rinri for gong and modular synthesizer, with Eco Errazuriz working with feedback and processed voice, at Persona in central Medellín in February 2025.
- Image: Poster for Concierto drone: large black letters spelling DRONE on a grid, with the date and the venue, Persona
- Context: aleph::ch'ixi
- Location: Persona, Medellín
- Sources: [Project](https://alephchixi.xyz/proyectos/concierto-drone/)
The concert was presented by [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi). rinri's work with gong and synthesizer is also on record in [O + ~](https://www.emeisaza.com/#o) and [luna](https://www.emeisaza.com/#luna).
### [chinkay](https://www.emeisaza.com/#chinkay)
- Date: 2025
- Type: piece
- Filters: composition
- Summary: A meditation by rinri that hears nature as synthetic, molecular and microsonic structure, drawn from the surfaces of plants, their petals and leaves.
- Image: Cover of chinkay: three small textured squares on pale green
- Role: composition / mixing / mastering
- Artist / project: rinri
- Context: aleph::ch'ixi (CH'IXI008)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/chinkay)
Pan flute, ronroco, gaita chonta and a singing bowl meet eurorack systems, distortion and signal degraders. The release describes it as rural lowercase, butterfly ambient and drone for moss: granular synthesis heard among swamp, carriquí birds and eucalyptus, a way of remembering ourselves in metamorphosis. eme mixed and mastered it at Momoto Studio, and it appeared in December 2025.
### [Concierto Un momento](https://www.emeisaza.com/#concierto-un-momento)
- Date: 2025
- Type: concert
- Filters: live
- Summary: A deep-listening session under the dome of the Planetario de Medellín, made with Exploratorio and Éter Lab: rinri played luna for modular synthesizer and gong, and Alejandro Bernal an ambient and soundscape set.
- Image: Poster for Concierto Un momento at the Planetario de Medellín, with star trails above the title
- Context: aleph::ch'ixi
- Location: Planetario de Medellín
- Sources: [Project](https://alephchixi.xyz/proyectos/concierto-un-momento/)
Presented by [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi). The studio version of rinri's piece is [luna](https://www.emeisaza.com/#luna).
### [eme Zzz 2025 singles](https://www.emeisaza.com/#eme-zzz-2025-singles)
- Date: 2025
- Type: singles
- Filters: composition
- Summary: Six singles released as eme Zzz through 2025, from arcoiris in February to laguna, with pacho, in November.
- Image: Cover of laguna: two people in a red pedal boat on dark water under the hand-drawn title
- Sources: [emezzz.com](https://emezzz.com)
- *laguna*, with pacho, 28 November 2025: [Spotify](https://open.spotify.com/track/4ZSZ0HavyZCR9qWXnV4v9T)
- *cu*, 14 November 2025: [Spotify](https://open.spotify.com/track/3DdaGMwGyYZhq2LUgPt1Mm)
- *pewpew*, 26 September 2025: [Spotify](https://open.spotify.com/track/6YsDH47NdNkur9YtstLXvF)
- *FÁNTASI*, 25 July 2025: [Spotify](https://open.spotify.com/track/5iOZsbdaaiOdQyd4kl1DVw)
- *bb 0.5x*, 16 April 2025: [Spotify](https://open.spotify.com/track/3TBfW4Br5mJzv5n0zISIIe)
- *arcoiris*, 28 February 2025: [Spotify](https://open.spotify.com/track/7lzR0JrjK6XefAhiuEQZWM)
### [¿Es bala o pólvora?](https://www.emeisaza.com/#es-bala-o-polvora)
- Date: 2025
- Type: triptych
- Filters: composition
- Summary: NANAY's third release takes up a question every Medellín neighbourhood knows: was that a gunshot or fireworks?
- Image: Cover of ¿Es bala o pólvora?: a vertical band of gold specks on black
- Role: processing / mastering
- Artist / project: NANAY
- Context: aleph::ch'ixi (CH'IXI007)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/es-bala-o-p-lvora)
Before the answer comes, the blast is an acousmatic event that holds both possibilities, violence and celebration at once, and the group keeps it there. All three pieces come from a single recording whose source is never revealed. *tastas* gates it into grains, *plomo (infra edit)* keeps only what lies below 200 Hz, and *bala-pólvora eterna* multiplies its pops into millions through granular processing. eme mastered it at Momoto Studio, and it appeared in November 2025.
### [luna](https://www.emeisaza.com/#luna)
- Date: 2025
- Type: piece
- Filters: composition
- Summary: A 45-minute meditation by rinri for gong and modular synthesizer, drawn from the cycle of the moon.
- Image: Cover of luna: pale lavender blur with the words rinri and luna
- Role: composition / mastering
- Artist / project: rinri
- Context: aleph::ch'ixi (CH'IXI004)
- Collaborators: gomita58 (cover)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/luna)
rinri builds a sonic spiral as a listening offering and a pause for silence, where ch'ixi names the force that holds silence and noise, the faint and the intense, metallurgy and circuitry together. Recorded in the studio from a piece first played live, it portrays the moon appearing and fading, and is meant to be played in a loop. eme mastered it at Momoto Studio, and it appeared in February 2025.
### [¿Sueñan las bichotas con ovejas sintéticas?](https://www.emeisaza.com/#suenan-las-bichotas-con-ovejas-sinteticas)
- Date: 2025
- Type: album
- Filters: composition
- Summary: NANAY's second release studies the bichota as an acousmatic creature, in five pieces that rework a single song and nod to Philip K. Dick.
- Image: Cover of ¿Sueñan las bichotas con ovejas sintéticas?: a golden ornamental panel
- Role: processing / mastering
- Artist / project: NANAY
- Context: aleph::ch'ixi (CH'IXI005)
- Collaborators: gomita58 (cover)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/sue-an-las-bichotas-con-ovejas-sint-ticas)
NANAY calls its method sonic demonology, the study of the dark and inhuman in sound. *atohcib* honours redundancy and reversibility. *176bchts* stacks 176 slightly shifted copies of the song, a process the group calls sonic cloning. *bichota (infra edit)* keeps only the low frequencies, *hiperb* raises pitch and tempo until the song turns into an electronic creature, and *demoniangel* melts it through time-stretching and spectral blur. Instructions for repeating each process come with the release, which eme mastered at Momoto Studio in April 2025.
### [no-ome](https://www.emeisaza.com/#no-ome)
- Date: 2024-08-30
- Type: single
- Filters: composition
- Summary: A single by eme Zzz, released on 30 August 2024.
- Image: Cover of no-ome: dense green tropical foliage
- Sources: [Listen on Spotify](https://open.spotify.com/track/4rtnSHQRn7LtYFlUziBsuR) / [emezzz.com](https://emezzz.com)
### [trébol](https://www.emeisaza.com/#trebol-2)
- Date: 2024-06-21
- Type: EP
- Filters: composition
- Summary: A five-song EP by eme Zzz, made together with Alejandro at Momoto Studio in Guarne, Antioquia, and released on 21 June 2024.
- Image: Cover of trébol: a tiny four-leaf clover on pale blue
- Role: songs / production
- Location: Guarne, Antioquia
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/tr-bol) / [Listen on Spotify](https://open.spotify.com/album/4WduxLDCjWBjWHmzBKMtTN) / [emezzz.com](https://emezzz.com)
The songs are *8*, *nada*, *m*, *bn* and *opio*, each between two and four minutes long.
### [repitis](https://www.emeisaza.com/#repitis)
- Date: 2024-02-29
- Type: single
- Filters: composition
- Summary: A single by eme Zzz, released on 29 February 2024.
- Image: Cover of repitis: a figure floating in a bright blue sky above clouds
- Sources: [Listen on Spotify](https://open.spotify.com/track/459g5W27Jwd6bu79miIO2Z) / [emezzz.com](https://emezzz.com)
### [capul](https://www.emeisaza.com/#capul)
- Date: 2024-01-18
- Type: single
- Filters: composition
- Summary: A single by eme Zzz, the name eme uses for songs, released on 18 January 2024.
- Image: Cover of capul: the top of a head of dark hair with cat ears, against green leaves
- Sources: [Listen on Spotify](https://open.spotify.com/track/2kXs9g3mz3vAHQdOvcbPzv) / [emezzz.com](https://emezzz.com)
*capul* opened a year of eme Zzz releases that continued with [repitis](https://www.emeisaza.com/#repitis), the [trébol](https://www.emeisaza.com/#trebol-2) EP and [no-ome](https://www.emeisaza.com/#no-ome).
### [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi)
- Date: 2024–present
- Type: situated computation / experimental media
- Filters: systems
- Summary: An artistic and research practice in situated, experimental and decolonial computation from Abya Yala, based in the mountains east of Medellín.
- Image: The aleph::ch'ixi homepage: a coral square with an ornamental pattern above the title in large serif type
- Status: active
- Role: founder / director
- Sources: [alephchixi.xyz](https://alephchixi.xyz)
aleph::ch'ixi was the development, conceptualization and research platform behind [Sonic Field Labs](https://www.emeisaza.com/#sonic-field-labs), and it publishes releases, code and live work. Its releases and live events, among them [Jornada Glaciar](https://www.emeisaza.com/#jornada-glaciar), [Concierto Un momento](https://www.emeisaza.com/#concierto-un-momento) and [Concierto drone](https://www.emeisaza.com/#concierto-drone), are listed in the portfolio. The full account is the [selected-work case study](https://www.emeisaza.com/#case-aleph-chixi).
### [aputería](https://www.emeisaza.com/#aputeria)
- Date: 2024
- Type: triptych
- Filters: composition
- Summary: The first release by NANAY, a group devoted to sonic demonology: three pieces that listen into darkness through records of Colombian popular music.
- Image: Cover of aputería: three horse-headed figures on black
- Role: processing / mastering
- Artist / project: NANAY
- Context: aleph::ch'ixi (CH'IXI001)
- Collaborators: gomita58 (cover)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/aputer-a)
Each piece works on one record. *aputería* time-stretches and spectrally processes *La Putería*, also known as *Pelea con el Diablo*, by Octavio Mesa (1987). *madre muerte (infra edit)* filters Parabellum's 1984 ultrametal landmark down to a near-silent black noise. *eternidad* freezes Darío Gómez's *Nadie es eterno* (1989) into a cloud of grains. A text accompanies the release as a map for repeating the processes. eme mastered it at Momoto Studio, and it appeared in November 2024.
### [Ay](https://www.emeisaza.com/#ay)
- Date: 2024
- Type: compilation track
- Filters: composition
- Summary: A track by gomita58 on La furia de las flores, a various-artists album released by the Colombian label F.S.U. in August 2024.
- Image: Cover of Ay: a city skyline mirrored into pixelated glitches
- Role: composition
- Artist / project: gomita58
- Context: La furia de las flores, F.S.U.
- Sources: [Listen](https://ffssuu.bandcamp.com/track/ay)
F.S.U. presents its releases as voice, pulse and melody offered as the anthem of new utopias. gomita58 also draws covers for the aleph::ch'ixi catalogue, among them [O + ~](https://www.emeisaza.com/#o), [aputería](https://www.emeisaza.com/#aputeria) and [luna](https://www.emeisaza.com/#luna).
### [Ch'ixi Agent Skills](https://www.emeisaza.com/#ch-ixi-agent-skills)
- Date: 2024
- Type: agent skills
- Filters: systems
- Summary: Open repository of skills for agentic workflows based on Silvia Rivera Cusicanqui's ideas and theories.
- Image: The chixi-skills repository card on GitHub
The skills work as a decolonial set of instructions and conditions, grounded in Abya Yala, for agents to develop ecological and epistemological ways of thinking. They take their name from Silvia Rivera Cusicanqui's ch'ixi, the coexistence of differences that do not merge, which also names [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi).
### [fatesClaw](https://www.emeisaza.com/#fatesclaw)
- Date: 2024
- Type: repository
- Filters: systems
- Summary: Experimental repository in progress, focused on resources for setting up Fates and Pi with OpenClaw.
- Image: A small OLED screen reading gateway on, mode idle
It includes a custom dashboard and scripts and documentation for configuring agents, controls, inputs, outputs and OLED screen workflows.
### [HABITAT.md](https://www.emeisaza.com/#habitat-md)
- Date: 2024
- Type: journal
- Filters: systems, editorial
- Summary: An editorial portal on the contemporary cybernetic habitat, written from ecological, cosmotechnical and decolonial perspectives.
- Image: HABITAT.md title card reading A laboratory for cosmotechnical practice
- Role: founder / director
HABITAT.md is an experimental journal and research laboratory on ethics, ecology and spirituality in contemporary cybernetics, part of the [aleph::ch'ixi](https://www.emeisaza.com/#aleph-chixi) practice.
### [O + ~](https://www.emeisaza.com/#o)
- Date: 2024
- Type: piece
- Filters: composition
- Summary: A sonic meditation by rinri that crosses gong and sine waves, the first release in the aleph::ch'ixi catalogue.
- Image: Cover of O + ~: an almost white field
- Role: performance / mastering
- Artist / project: rinri
- Context: aleph::ch'ixi (CH'IXI000)
- Collaborators: gomita58 (cover)
- Sources: [Listen](https://alephchixi.bandcamp.com/album/o)
rinri pairs two technologies for their sonic force and their meditative pull: the gong, heard as an ancestral OM, and spectral processing that brings it close to the sine wave. Ch'ixi appears here as a cosmology in which the universe is emptiness and noise, waves in silence, in circular and non-linear time. The piece holds a single moment as an unbroken drone. eme mastered it at Momoto Studio, and it appeared in November 2024.
### [mdlln89](https://www.emeisaza.com/#mdlln89)
- Date: 2023-12-14
- Type: single
- Filters: composition
- Summary: A single by eme Zzz, released on 14 December 2023.
- Image: Cover of mdlln89: an old family photograph of a woman holding a baby
- Sources: [Listen on Spotify](https://open.spotify.com/track/1l6tvl5DvofyNhWN9Q0tvW) / [emezzz.com](https://emezzz.com)
### [nimbo](https://www.emeisaza.com/#nimbo)
- Date: 2023-11-24
- Type: single
- Filters: composition
- Summary: A single by eme Zzz, released on 24 November 2023.
- Image: Cover of nimbo: a pixel-art cat between rows of pixel trees
- Sources: [Listen on Spotify](https://open.spotify.com/track/7wRKVlq2FptIYI3lL7kXrn) / [emezzz.com](https://emezzz.com)
### [Surrealism, materialism and metaphysics in the digital domain: On Jimmy Edgar’s crypto-based visual work](https://www.emeisaza.com/#surrealism-materialism-and-metaphysics-in-the-di)
- Date: 2022-10-29
- Type: essay
- Filters: editorial
- Summary: An essay for CLOT on the crypto-based visual work of Jimmy Edgar, the Detroit musician and artist, and its surreal, material and metaphysical side.
- Image: The CLOT essay title beside a colourful abstract crypto artwork by Jimmy Edgar
- Context: CLOT Magazine
- language: EN
- published: 2022-10-29
- Sources: [CLOT Magazine](https://clotmag.com/oped/surrealism-materialism-and-metaphysics-in-the-digital-domain-on-jimmy-edgars-crypto-based-visual-work-by-miguel-isaza) / [Archived copy](https://web.archive.org/web/20260520042535/https://clotmag.com/oped/surrealism-materialism-and-metaphysics-in-the-digital-domain-on-jimmy-edgars-crypto-based-visual-work-by-miguel-isaza)
Edgar, known for music between techno, hip hop and glitch on labels such as Warp, Ultramajic and Innovative Leisure, had built a visual practice that found its place on the blockchain through conceptual NFT drops. The essay follows his reflection on colour, shape and space and the critical edge of that work.
### [Voltages, Buddhism and an infinite listening: a tribute to Éliane Radigue](https://www.emeisaza.com/#voltages-buddhism-and-an-infinite-listening-a-tr)
- Date: 2022-09-13
- Type: essay
- Filters: editorial
- Summary: A tribute to Éliane Radigue for CLOT, on electronic music beyond genre, Buddhism and the infinite listening of her work.
- Image: Éliane Radigue at the ARP 2500 synthesizer, beside the title of the CLOT essay
- Context: CLOT Magazine
- language: EN
- published: 2022-09-13
- Sources: [CLOT Magazine](https://clotmag.com/oped/voltages-buddhism-and-an-infinite-listening-tribute-to-eliane-radigue-by-miguel-isaza) / [Archived copy](https://web.archive.org/web/20260510165721/https://clotmag.com/oped/voltages-buddhism-and-an-infinite-listening-tribute-to-eliane-radigue-by-miguel-isaza)
It begins by asking what electronic music is, neither a genre nor a style but the entry of the electric and the digital into music-making, and follows Radigue's path from the ARP 2500 synthesizer to Buddhist practice and to long, slowly changing drones that ask for an infinite listening.
### [Post-pandemic time & the New Chronologies of Sound](https://www.emeisaza.com/#post-pandemic-time-the-new-chronologies-of-sound)
- Date: 2022-08-17
- Type: essay
- Filters: editorial
- Summary: An essay for CLOT on how the pandemic changed the time of listening, written from the New Chronologies of Sound project shown at the Museo de Arte Moderno de Medellín in 2022.
- Image: New Chronologies of Sound cover: an old tower block with coloured balloons
- Context: CLOT Magazine
- language: EN
- published: 2022-08-17
- Sources: [Read](https://clotmag.com/oped/post-pandemic-time-the-new-chronologies-of-sound-by-miguel-isaza)
### [CLOT Magazine](https://www.emeisaza.com/#clot-magazine)
- Date: 2022
- Type: interviews / label features
- Filters: editorial
- Summary: Interviews and label features on experimental music and audiovisual practice for CLOT Magazine, from Sasu Ripatti and Helene Vogelsinger to the labels LINE, Raster and Hallow Ground.
- Image: The CLOT label feature on Hallow Ground, an industrial skyline at dusk beside the title
- items: 6
Interviews on experimental music and audiovisual practice. (6 interviews.)
Interviews
- [Sasu Ripatti aka Vladislav Delay](https://clotmag.com/interviews/sasu-ripatti-on-new-conceptual-endeavours-for-open-explorations-of-sound)
- [Helene Vogelsinger](https://clotmag.com/interviews/helene-vogelsinger-an-spiritual-journey-through-modular-synthesis)
- [Richard Chartier/LINE](https://clotmag.com/news/label-feature-line-worshipping-sonority-as-a-profound-artistic-manifestation)
- [Olaf Bender/Raster](https://clotmag.com/news/label-feature-raster-a-data-synesthesia-space-where-ideas-sounds-graphics-are-permanently-intertwined)
- [Hallow Ground](https://clotmag.com/news/label-feature-hallow-ground-sonority-as-a-hypnagogic-portal)
- [Bienoise](https://clotmag.com/interviews/bienoise-deep-aesthetic-reflection-instrumental-mastering)
### [Nuevas cronologías del sonido](https://www.emeisaza.com/#nuevas-cronologias-del-sonido)
- Date: 2022
- Type: exhibition
- Filters: installation
- Summary: A group exhibition at the Museo de Arte Moderno de Medellín, from March to June 2022, of sound recorded during the pandemic lockdown, curated by Hugo Branco (Vic Nic) and Jorge Bejarano Barco.
- Image: New Chronologies of Sound cover: an old tower block with coloured balloons
- Context: Museo de Arte Moderno de Medellín
- Sources: [MAMM](https://www.elmamm.org/exposicion/nuevas-cronologias-del-sonido/)
eme took part alongside Diana Combo, Gustavo Costa, Budhaditya Chattopadhyay, Lawrence English, Antye Greie-Ripatti, Matthew Herbert, Kyoka, BJ Nielsen, Laura Romero and Natalia Valencia. eme also wrote about the project for CLOT, in [Post-pandemic time](https://www.emeisaza.com/#post-pandemic-time-the-new-chronologies-of-sound).
### [flor](https://www.emeisaza.com/#flor-2)
- Date: 2021
- Type: album
- Filters: composition
- Summary: Eight songs by eme Zzz, released by Ediciones Éter in October 2021 as a download and a vinyl edition of 25 copies.
- Image: Cover of flor: a pale feathery form on dark maroon
- Role: songs / production / mixing
- Context: Ediciones Éter (éter57)
- Collaborators: Alejandro Henao (guitars, photography), David Uribe (mastering), Nicolás Muñoz (design), Rossana Uribe (videos)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/flor) / [Listen on Spotify](https://open.spotify.com/album/5Yi1DjrJbY3AXe0rT6P6sN) / [emezzz.com](https://emezzz.com)
The release calls *flor* an ode to sanity, "from intimacy to intimacy, like one silence before another, for the forest that we are." It was recorded, produced and mixed at Momoto Studio, with guitars by Alejandro Henao on *polen* and *polenn*, mastering by David Uribe at Backdoor in Florida, design by Nicolás Muñoz around a photograph by Alejandro Henao, and videos by Rossana Uribe.
### [Estasis sonora](https://www.emeisaza.com/#estasis-sonora)
- Date: 2020-06-22
- Type: essay
- Filters: editorial
- Summary: Essay on ambient music and the sensibility of cyberculture, published on the Caja Negra blog with a selection of ethereal music and a chapter of David Toop's Ocean of Sound.
- Image: The Caja Negra blog page for Estasis sonora, with a photograph of David Toop at a table of instruments
- Context: Caja Negra Editora
- Sources: [Caja Negra](https://cajanegraeditora.com.ar/estasis-sonora/)
Starting from David Toop's *Ocean of Sound*, the essay reads ambient as a listening posture more than a technique, a music of drift and stasis for bodies held within new limits and minds saturated by the virtual. The post came with a selection of ethereal music from the 1990s to the present and a chapter of Toop's book to download.
### [Audiosfera](https://www.emeisaza.com/#audiosfera)
- Date: 2020
- Type: exhibition
- Filters: installation
- Summary: Work included in Audiosfera: Experimentación sonora 1980–2020, the exhibition curated by Francisco López at the Museo Reina Sofía.
- Image: Audiosfera logo: a waveform inside a black circle
- Context: Museo Reina Sofía, Madrid
- Sources: [Museo Reina Sofía](https://www.museoreinasofia.es/exposiciones/audiosfera)
Audiosfera set out to fill a historical gap in the recognition of experimental sound, gathering hundreds of works by sound artists from around the world. It was presented without images or objects, in an exhibition design made for deep, prolonged listening.
### [Interdependencia](https://www.emeisaza.com/#interdependencia)
- Date: 2020
- Type: piece
- Filters: composition
- Summary: A piece made by processing and editing a live improvisation, offered in May 2020 as a point of connection between listeners in lockdown.
- Image: Cover of Interdependencia: a woven blue texture
- Role: composition / mixing / mastering
- Artist / project: eme
- Collaborators: Andrea Domínguez Ramírez (cover)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/interdependencia)
eme described it as a gesture to recall "the co-dependence of everything that exists," a way to meet inside listening and to meditate on sonority. The cover is *Tejido*, a drawing by the artist Andrea Domínguez Ramírez.
### [Cronotopía](https://www.emeisaza.com/#cronotopia)
- Date: 2019
- Type: album
- Filters: composition
- Summary: Roedor's sixth release: ten tracks of saturated, fractal electronics made with software between 2018 and 2019.
- Image: Cover of Cronotopía: a dark field fading to red
- Role: composition
- Artist / project: Roedor
- Context: Monofónicos (MNE 012)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/cronotop-a) / [Monofónicos (archived)](https://web.archive.org/web/20191018210008/http://monofonicos.net/mne-012-roedor-cronotopia/)
Monofónicos described *Cronotopía* as a sequence of code unfolding into noise, breaks and pulses, a journey through cybernetic environments where distortion and unexpected rhythmic mutation lead. Ambient derivatives cross frenetic glitch and experimental techno across the ten tracks. The label's note names Roedor as a project of eme; this was its fifth release on Monofónicos, in September 2019.
### [eilean 100](https://www.emeisaza.com/#eilean-100)
- Date: 2019
- Type: compilation track
- Filters: composition
- Summary: The final release of the French label Eilean Rec., a five-CD set of 82 tracks by 109 artists that includes El monte suspendido from Uji.
- Image: Cover of eilean 100: an aerial view of concentric rings in a field around a white dot
- Role: composition
- Artist / project: Various artists
- Context: Eilean Rec. (eilean 100)
- Sources: [Listen](https://eileanrec.bandcamp.com/album/various-artists-eilean-100)
*eilean 100* closed the label's map of releases, and the project itself, by bringing together the artists involved since its beginning: six hours of music, with 61 new or unreleased tracks and 21 drawn from back catalogues. eme's contribution is the opening piece of *Uji*, which Eilean had published in 2014 as map point eilean 07. The physical edition was limited to 175 copies.
### [Los sonidos no caen al suelo](https://www.emeisaza.com/#los-sonidos-no-caen-al-suelo)
- Date: 2019
- Type: acousmatic installation
- Filters: installation
- Summary: A multichannel acousmatic installation at the Museo de Arte Moderno de Medellín, from March to June 2019, built on a forty-minute composition from more than ten years of material.
- Image: Los sonidos no caen al suelo: a faint object lit in darkness
- Context: Museo de Arte Moderno de Medellín
- Sources: [MAMM](https://www.elmamm.org/exposicion/los-sonidos-no-caen-al-suelo/)
The piece grew from research on sound as an interstice of the material and the immaterial. Thousands of sources processed with digital tools gather into "sonic matter," and the room keeps it as a silent, open and unknown space, an exploration of sound as a cosmic element with its own dimension. The [releases case study](https://www.emeisaza.com/#case-releases) tells more.
### [Transitar](https://www.emeisaza.com/#transitar)
- Date: 2019
- Type: piece
- Filters: composition
- Summary: A single piece released on 26 December 2019 as a gift to listeners, at the close of a decade of releases.
- Image: Cover of Transitar: a figure walking across a drawn sandy plain
- Role: composition
- Artist / project: eme
- Collaborators: Kathiuska (cover)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/transitar)
A short poem frames it: leaving one decade and opening another "with the same heart," looking to be alive "in the transit of things." eme dedicated it to everyone who had supported the music over those ten years. The cover is by Kathiuska, and it was mastered at Momoto Studio.
### [Upallay](https://www.emeisaza.com/#upallay)
- Date: 2019
- Type: album
- Filters: composition
- Summary: Seven pieces joining microsound, ambient and field recording with poetry and the mysticism of the South, published by Éter in June 2019 in its Akasha series.
- Image: Cover of Upallay: a tree line in a small landscape on white
- Role: composition / production / mastering
- Artist / project: eme
- Context: Éter, Akasha series (AK05)
- Collaborators: Rossana Uribe (artwork, teaser), David Escallón (teaser), Pedro Arbeláez (object design)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/upallay-2) / [Éter](https://eterlab.bandcamp.com/album/upallay) / [Éter catalogue (archived)](https://web.archive.org/web/20260420165633/https://eter-lab.net/ak05-upallay/)
*Upallay* is Quechua for stopping all sound and chaos, "to light up silence." Read in order, the titles form one long phrase, from *A fin de cuentas el sonido es el que habla* to *Con el sosiego que trae el momoto*. The limited physical edition, designed by Pedro Arbeláez, was a piece of trunk found in the forest, engraved by CNC, with a microSD card of the album set into the wood.
### [Antigravedad](https://www.emeisaza.com/#antigravedad)
- Date: 2018
- Type: album
- Filters: composition
- Summary: Roedor's six-track release on ÉTER, four originals and two remixes built around the image of noise held in orbit.
- Image: Cover of Antigravedad: a grey textured rectangle on black
- Role: composition
- Artist / project: Roedor
- Context: ÉTER (SS04)
- Collaborators: oo (remix), Pangüilof (remix)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/antigravedad)
A short text opens the record: a vortex forms, and the noises it gathers stay "in an incessant orbit" where life is not pulled to the ground but rises, "as if going against gravity." *Bioma*, *Isotopo*, *Gravedad* and the title track follow that image through electronic textures and pulses, and remixes by oo and Pangüilof close the release. ÉTER published it in October 2018.
### [arché](https://www.emeisaza.com/#arche)
- Date: 2018
- Type: light installation
- Filters: audiovisual, installation
- Summary: An audio-reactive light installation made with the duo DesFase for the #Fotosíntesis festival at the Exploratorio of Parque Explora, built on vibration as the origin of light, sound and matter.
- Image: Arche performance: a silhouette among red neon tubes
- Role: concept
- Collaborators: DesFase (Felipe Hernández, Mauricio Suaza), Rossana Uribe (concept, audiovisual design), David Escallón (design, production), Pedro Arbeláez (design, production)
- note: Presented at Fotosíntesis festival
- Sources: [Archived Éter Lab page](https://web.archive.org/web/20260317060337/https://eter-lab.net/arche/) / [Installation video](https://vimeo.com/323820468)
DesFase, also known as Negra AV, is the duo of the electronic artists Felipe Hernández and Mauricio Suaza. In *arché*, the ether works as a common zone where light and sound react to each other, and the installation folds its geometry into point, line and plane, the elementary forms of vibration. Its text asks whether vibration could be the arché, the first principle of everything that exists: "perhaps light was a sonic flame, a delicate vibration of the luciferous ether."
### [Auditum 2018: Semana de la Escucha](https://www.emeisaza.com/#auditum-2018-semana-de-la-escucha)
- Date: 2018
- Type: festival
- Filters: curatorial
- Summary: The 2018 edition of Auditum's listening week in Medellín: concerts, installations, talks and laboratories on listening as a form of consciousness and resistance.
- Image: Auditum 2018: the festival mark over the curved horizon of a dome projection
- Role: curatorial direction
- Sources: [View Details (Web)](https://web.archive.org/web/20260317153420/https://auditum.eter-lab.net/)
The programme brought concerts by Jorge Haro, installations by Leonel Vásquez and talks with France Jobin, together with experimental laboratories. eme directed the curation and production.
### [Darién: simbiosis](https://www.emeisaza.com/#darien-simbiosis)
- Date: 2018
- Type: audiovisual installation
- Filters: installation
- Summary: A six-channel, three-screen installation built from sound and image recorded in the Darién jungle, moving from ocean to dense forest, from the macro to the micro, from day to night.
- Image: Banner for Éter Lab's Darién: Simbiosis at the Museo de Arte de Pereira
- Context: Museo de Arte de Pereira
- Sources: [Archived Éter Lab page](https://web.archive.org/web/20260114175748/https://eter-lab.net/darien-lab3/)
Derived from the Darién project, it set the insect as a universe in miniature against the vastness of the territory, in a succession of shadows and silences, bursts and microsounds. It was shown at the Museo de Arte de Pereira in 2018.
### [Hipnagogia](https://www.emeisaza.com/#exposicion-hipnagogia)
- Date: 2018
- Type: exhibition
- Filters: curatorial
- Summary: An exhibition of sonic arts by Éter Lab on hypnagogia, the state between sleep and waking, with ten works by Colombian artists from different practices and scenes.
- Image: Hipnagogia: exhibition of sonic arts, title card
- Context: Crealab, Facultad de Artes, Universidad de Antioquia
- Sources: [Archived Éter Lab page](https://web.archive.org/web/20260317055333/https://eter-lab.net/hipnagogia-2/)
Curated by eme, the works were set as a single spatial composition, where sound appeared as a medium between media and a space for open speculation in listening. It was open for two weeks at the Crealab of the Faculty of Arts of the Universidad de Antioquia.
### [Madriguera](https://www.emeisaza.com/#madriguera)
- Date: 2018
- Type: album
- Filters: composition
- Summary: Ten tracks by Roedor, released by Monofónicos in April 2018.
- Image: Cover of Madriguera: a dark spiral tunnel of mesh
- Role: composition
- Artist / project: Roedor
- Context: Monofónicos
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/madriguera)
The titles trace an underground passage, from *Propaganda* through three parts of *Metellinum*, the Latin name behind Medellín, to *Túneles*, *Péndulo* and *Subterfugio*.
### [Noumena](https://www.emeisaza.com/#noumena)
- Date: 2018
- Type: piece
- Filters: composition
- Summary: A piece of sine waves and processed field recordings, published by Éter in March 2018 in Akasha, its series for ambient from microsound to drone.
- Image: Cover of Noumena: a grey rectangle on white
- Role: composition / artwork / teaser / mastering
- Artist / project: eme
- Context: Éter, Akasha series (AK02)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/noumena-2) / [Éter](https://eterlab.bandcamp.com/album/noumena) / [Teaser](https://youtu.be/FA-8uBtptwE)
*Noumena* explores microsound as a way of meeting objects that are almost real yet stay veiled and masked, "always children of a theatre of time." It opens with lines by the poet Roberto Juarroz about saying a word that exists about something that neither exists nor does not. eme made the composition, the artwork, the video teaser and the master.
### [Quedan unas horas para el futuro](https://www.emeisaza.com/#quedan-unas-horas-para-el-futuro)
- Date: 2018
- Type: sound piece
- Filters: installation
- Summary: A sound piece commissioned for the audiovisual installation Sublevar, dedicated to utopia and resistance.
- Image: Quedan unas horas para el futuro: an empty hall lit in red
Made from field recordings and small digital supports, it holds an intermediate state in which sound appears as oscillation and latency.
### [Subscendencia (4x10)](https://www.emeisaza.com/#subscendencia-4x10)
- Date: 2018
- Type: multichannel installation
- Filters: installation
- Summary: A version of Subscendencia for 4x10: exploraciones sonoras sobre el tiempo, a 2018 exhibition at the Museo de Arte Moderno de Medellín of ten four-minute pieces for eight speakers by current Medellín sound projects.
- Image: 4x10 exhibition poster from the Museo de Arte Moderno de Medellín
- Context: Museo de Arte Moderno de Medellín
- Sources: [Arteinformado](https://www.arteinformado.com/agenda/f/4x10-exploraciones-sonoras-sobre-el-tiempo-153885)
This version treats listening as a speculative dimension and sound as malleable time.
### [Subscendencia (Sound Corner)](https://www.emeisaza.com/#subscendencia-sound-corner)
- Date: 2018
- Type: sound installation
- Filters: installation
- Summary: A sound installation in the Sound Corner of the Auditorium Parco della Musica in Rome that explores the equanimity of the hour and the second.
- Image: Subscendencia in the Sound Corner: an orange wall above a bench
- Location: Auditorium Parco della Musica, Rome
It uses sonic matter as a cosmological element, granulating time into milliseconds and sine waves.
### [Valle silente](https://www.emeisaza.com/#valle-silente)
- Date: 2018
- Type: sound in public space
- Filters: installation
- Summary: A sound process in public space: sine waves and instruments played from speakers hidden in parts of the city, reflecting on silence as an active possibility in urban political life.
- Image: Valle silente poster: misty green mountains in a circle
- Collaborators: David Escallón (recordings)
- Sources: [Valle Silente on Bandcamp](https://invisiblevalley.bandcamp.com/album/valle-silente)
The project set out a silent militancy through hidden acts of sound: four acousmatic concerts for speakers concealed around Medellín, from the streets of the centre to parks such as La Milagrosa and the forests of Santa Elena. Flute, kalimba, cymbals and sine waves merged with each place and were recorded there, then composed into an album released in November 2018 with a text on listening and public space. Recordings by David Escallón and eme, produced by [Éter Lab](https://www.emeisaza.com/#eter-lab) and Auditum.
### [La historia de Auto-Tune: de la geofísica a la música cibernética](https://www.emeisaza.com/#la-historia-de-auto-tune-de-la-geofisica-a-la-mu)
- Date: 2017-12-22
- Type: article
- Filters: editorial
- Summary: The history of Auto-Tune for Hispasonic: the software that changed popular music grew out of a geophysics project analysing the ground for an oil company.
- Image: The Auto-Tune plug-in interface, with pitch controls above a keyboard
- Context: Hispasonic
- language: ES
- published: 2017-12-22
- Sources: [Read](https://www.hispasonic.com/reportajes/historia-creacion-auto-tune-geofisica-revolucion-musical-siglo-xxi/43371)
Andy Hildebrand developed the algorithm after years of analysing layers of the ground for oil, and the article follows that route from geophysics to the most recognizable vocal effect of its time. It weighs the criticism, Time counted Auto-Tune among the fifty worst inventions, against the new voices and genres the tool made possible.
### [Lucrecia Dalt: «Me gusta explorar nuevas formas de perversión»](https://www.emeisaza.com/#lucrecia-dalt-vice)
- Date: 2017-07-05
- Type: interview
- Filters: editorial
- Summary: Interview with Lucrecia Dalt on her conceptual process and sound design, for VICE en español.
- Image: The VICE en español article titled Lucrecia Dalt: Me gusta explorar nuevas formas de perversión
- Role: interview and text
- Context: VICE en español
- Sources: [VICE](https://www.vice.com/es/article/lucrecia-dalt-me-gusta-explorar-nuevas-formas-de-perversion/)
Written while Dalt was in Colombia for Rock al Parque 2017, the piece hears her music as hypnagogic, between experimentation and representation. She talks about performing alone with synthesizers, voice, vocoders and live processing, and about the album she had finished for early 2018. The article premiered the video for her single *Esotro*.
### [ALEPH ℵ0](https://www.emeisaza.com/#aleph-0)
- Date: 2017
- Type: audiovisual piece
- Filters: audiovisual
- Summary: An audiovisual work by Camilo Tamayo, Rossana Uribe and eme that evokes expansions of conscious perception through explorations and distortions of matter.
- Image: Still from aleph 0: luminous green and orange forms
- Collaborators: Camilo Tamayo, Rossana Uribe
- Sources: [Video on Vimeo](https://vimeo.com/231173425)
A work by Camilo Tamayo, Rossana Uribe and eme that evokes, through explorations and audiovisual distortions of matter, expansions of conscious perception, inquiring into the interaction of matter and the immaterial to thus harbor a multiplicity of spectral manifestations of color, forms of objects, and frequencies of sound. Through the use of metaphors and poetic wordplay, a cinematographic narrative is woven that portrays sonic and pictorial chimeras, seeking a conscious expansion in our consideration of reality, the powers of perception, and the manifestations of energy.
The work was presented for the first time as part of the exhibition as an Ethereal Stand at Bodega Central during MedellínDesignWeek 2017, along with other projects and pieces from the laboratory. In the same year, during the Semana de la Escucha, it was presented in a multiple projection format as part of the festival's closing event, together with other international and national artists at the Parque Explora Auditorium.
### [Darién (LAB3)](https://www.emeisaza.com/#darien-lab3)
- Date: 2017
- Type: audiovisual installation
- Filters: audiovisual
- Summary: An immersive audiovisual exhibition at LAB3 of the Museo de Arte Moderno de Medellín that invited visitors into the natural rhythms of the Darién jungle.
- Image: Darién: a diver suspended under a green water surface
- Context: LAB3, Museo de Arte Moderno de Medellín
- Collaborators: David Escallón (direction), Pedro Arbeláez, Rossana Uribe, Jaime Zapata
- Sources: [Exhibition video](https://vimeo.com/202936181)
Made with Pedro Arbeláez, Rossana Uribe and Jaime Zapata under the direction of David Escallón, with the support of the museum and the Fundación Sofía Pérez de Soto, in alliance with the Ministerio de Cultura, the Universidad de Antioquia, Ibermuseos and [Éter Lab](https://www.emeisaza.com/#eter-lab). It ran until 12 March 2017.
### [Ficciones cotidianas](https://www.emeisaza.com/#ficciones-cotidianas)
- Date: 2017
- Type: installation
- Filters: installation
- Summary: A mixed-arts project in the streets of Barrio Sinaí, made from the everyday fictions of its residents, between theatre and the visual arts.
- Image: Ficciones cotidianas: cut-out letters over portraits of participants
- Location: Barrio Sinaí, Medellín
### [Innerscape](https://www.emeisaza.com/#innerscape)
- Date: 2017
- Type: jury
- Filters: curatorial
- Summary: Jury for Inner Soundscape, an open call by the Italian label VacuaMoenia that became the compilation Innerscape.
- Image: Innerscape poster: converging black lines over the title
- Context: VacuaMoenia (Italy)
- Sources: [Innerscape on Bandcamp](https://vacuamoenia.bandcamp.com/album/innerscape)
VacuaMoenia called "inner soundscape" the listening that new recording techniques make possible, of soundscapes the ear would not normally capture. The call asked for works on the inner form of matter and for ideas of deep listening drawn from personal experience; the selection became a thirteen-track compilation in March 2017.
### [Macondo](https://www.emeisaza.com/#line-092-edition-line)
- Date: 2017
- Type: album
- Filters: composition
- Summary: Four compositions on LINE that take Macondo, the town of One Hundred Years of Solitude, as a model for things that are there and not there.
- Image: Cover of Macondo: a thin bright line across green and amber light
- Role: composition
- Artist / project: eme isaza
- Context: LINE (LINE_092)
- Collaborators: Rossana Uribe (images)
- Sources: [LINE](https://www.lineimprint.com/editions/sound/line_092/) / [LINE on Bandcamp](https://lineimprint.bandcamp.com/album/macondo)
The liner notes join magical realism with object-oriented philosophy: if all things count equally, real or imagined, every object can be heard as a resonance, present and absent at once. Field recordings, found objects, analog synthesizers and electromagnetic fields gathered since 2012 for ALEPH, a research on magical realism with Rossana Uribe and Camilo Tamayo, are woven together. Three titles quote the novel's first page and the fourth Timothy Morton. It was first heard as an acousmatic installation at FLORA ars+natura in Bogotá.
### [Māyopama](https://www.emeisaza.com/#mayopama)
- Date: 2017
- Type: album
- Filters: composition
- Summary: Eight pieces composed mostly from recordings made in Italy, released by 901 Editions in May 2017 and named after the Buddhist simile of things as magic illusion.
- Image: Cover of Māyopama: a close view of creased amber material
- Role: composition
- Artist / project: eme
- Context: 901 Editions
- Location: Italy and Colombia
- Collaborators: Agnese Gambini (cover photograph)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/m-yopama) / [901 Editions](https://901editions.bandcamp.com/album/m-yopama)
*Māyopama* is a Sanskrit term for something "as a magic illusion," and its eight similes, from dream and mirage to echo and the city of gandharvas, give the tracks their names. Recordings from Rome, Naples, Benevento and rural Fortore, some made during the Liminaria residency at Ginestra degli Schiavoni, were worked through microsound and spectral processing until the solid and the ethereal sound alike.
### [Microcosmos](https://www.emeisaza.com/#microcosmos)
- Date: 2017
- Type: acousmatic installation
- Filters: installation
- Summary: A multichannel acousmatic installation without light at FLORA ars+natura in Bogotá, made of two pieces drawn from Éter Lab projects.
- Image: The Microcosmos title on a pale grey gradient, from the Éter Lab website
- Context: FLORA ars+natura, Bogotá
- Sources: [Archived Éter Lab page](https://web.archive.org/web/20260211185926/https://eter-lab.net/microcosmos-flora/)
One piece comes from microsonic scans of the Darién jungle, the other from the sonic drifts of ALEPH, the research on magical realism and cosmology that also produced [Macondo](https://www.emeisaza.com/#line-092-edition-line).
### [Semana de la Escucha 2017](https://www.emeisaza.com/#semana-de-la-escucha-2017)
- Date: 2017
- Type: festival
- Filters: curatorial
- Summary: Auditum's 2017 listening week in Medellín, Escuchar el suelo, held around World Listening Day across the Museo de Arte Moderno, the Exploratorio and the Botanical Garden.
- Image: Escuchar el suelo poster for the 2017 Semana de la Escucha
- Sources: [Archived Auditum site](https://web.archive.org/web/20260317153420/https://auditum.eter-lab.net/)
The programme included a panel on sonology, deep-listening workshops, concerts and installations.
### [Simbiosis](https://www.emeisaza.com/#simbiosis)
- Date: 2017
- Type: album
- Filters: composition
- Summary: Ten tracks by Roedor, released by Monofónicos in August 2017.
- Image: Cover of Simbiosis: stacked isometric blocks in orange and purple
- Role: composition
- Artist / project: Roedor
- Context: Monofónicos
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/simbiosis)
The titles follow a vocabulary of shared life and change, from *Volátil* and *Mímesis* through *Mutualismo*, *Mutación* and *Sinergia*, and end in *Tlön*, after the invented world of Borges's story.
### [Valle etéreo](https://www.emeisaza.com/#valle-etereo)
- Date: 2017
- Type: multichannel installation
- Filters: installation
- Summary: A multichannel installation with hidden speakers in the Botanical Garden of Medellín.
- Image: Valle etéreo poster: thin grey title on white
- Location: Jardín Botánico de Medellín
Recordings of insects and designed sounds blended into the garden, inviting visitors to look for invisible acoustic creatures.
### [Guía de diseño sonoro](https://www.emeisaza.com/#guia-de-diseno-sonoro)
- Date: 2016–2017
- Type: article series
- Filters: editorial
- Summary: A series of fourteen articles in Spanish for Hispasonic on the ideas and processes of sound design.
- Context: Hispasonic
- language: ES
- published: 2016–2017
- Sources: [Read](https://www.hispasonic.com/tags/guia-de-diseno-sonoro)
The series moves from basic notions to working practice. Among its later chapters are *El DAW no es el centro*, on why the workstation is not the centre of the work, and *La necesidad de integrar los roles*, on bringing the roles of sound design together.
### [Cinco consejos para cultivar la escucha](https://www.emeisaza.com/#cinco-consejos-para-cultivar-la-escucha)
- Date: 2016-12-16
- Type: article
- Filters: editorial
- Summary: Five suggestions, in Spanish, for training listening and opening it to sounds in depth, written for Hispasonic.
- Image: A person listening through a giant horn-shaped ear trumpet
- Context: Hispasonic
- language: ES
- published: 2016-12-16
- Sources: [Read](https://www.hispasonic.com/blogs/cinco-consejos-para-cultivar-escucha/42491)
The article separates training the ear, intervals and frequencies, from training listening as a mental and spiritual activity: "not to hear like someone attending to sounds, but to listen like someone who lives in them." Five exercises follow, offered as invitations to meet what sounds, inside and outside, acoustically or immaterially.
### [Cimática: el arte y la ciencia de ver la geometría del sonido](https://www.emeisaza.com/#cimatica-el-arte-y-la-ciencia-de-ver-la-geometri)
- Date: 2016-11-23
- Type: article
- Filters: editorial
- Summary: A feature in Spanish for Hispasonic on cymatics, where art and science meet to make the geometry of sound visible through vibrating matter.
- Image: A glowing orange mandala of light on black, a cymatic pattern
- Context: Hispasonic
- language: ES
- published: 2016-11-23
- Sources: [Read](https://www.hispasonic.com/reportajes/cimatica-arte-ciencia-ver-geometria-sonido/42435)
It traces cymatics from Ernst Chladni's sand figures on vibrating plates, described in 1787, to Hans Jenny, the Swiss scientist who named the field, and to Margaret Watts-Hughes and her Eidophone. Between science and poetry, it links those images of matter shaped by vibration to the old idea of sound as the ground of the universe, present in the Vedas and in Pythagorean thought.
### [Fortore etéreo](https://www.emeisaza.com/#fortore-etereo)
- Date: 2016
- Type: installation
- Filters: installation
- Summary: An installation made during the Liminaria residency in the Fortore region of southern Italy, where real and synthetic insects meet in a cybernetic dimension of listening.
- Image: Fortore etéreo: a listener in a VR headset beside the Rural Futurism programme
- Context: Liminaria 2016
- Location: Fortore, Italy
- Sources: [Liminaria](https://www.liminaria.org/en/blog)
The residency also produced recordings used in [Māyopama](https://www.emeisaza.com/#mayopama), and a daily diary, Ethereal Fortore, on the Liminaria blog.
### [Kairós](https://www.emeisaza.com/#kairos)
- Date: 2016
- Type: piece
- Filters: composition
- Summary: A piece made in Medellín between 2015 and 2016 from field recordings and found objects, published by Ediciones Éter in February 2016.
- Image: Cover of Kairós: an overexposed white haze
- Role: composition
- Artist / project: eme
- Context: Ediciones Éter (éter22)
- Location: Medellín
- Collaborators: Rossana Uribe (audiovisual piece, teaser)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/kair-s-2) / [Audiovisual piece](https://vimeo.com/157187165)
Its epigraph names the idea: to manipulate "the ephemeral microfibers of those aerial silhouettes we call sounds" is "nothing more than an excuse to seduce time and stop at listening." Éter issued it as éter22, as a download and a mini CD-R, with an audiovisual piece and a teaser by Rossana Uribe.
### [Neti neti](https://www.emeisaza.com/#neti-neti)
- Date: 2016
- Type: album
- Filters: composition
- Summary: Three pieces built from recordings in and around the Metropolitan Cathedral of Montevideo, released on cassette by Nova Fund Recordings in 2016.
- Image: Cover of Neti neti: a teal haze darkening downward
- Role: composition
- Artist / project: eme
- Context: Nova Fund Recordings
- Location: Montevideo
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/neti-neti) / [Nova Fund](https://novafundrecordings.bandcamp.com/album/neti-neti)
Minutes after eme began recording inside the cathedral, someone started to play the organ, and the building itself seemed to become the instrument. From that sense of resonance, the pieces use granular and spectral processing to reveal the simple waves inside complex sounds, dissolving recorded spaces into narrow harmonic bands and grains close to the sine wave. The Sanskrit title, "not this, not this," returns in the track names *Ni esto* and *Ni aquello*.
### [Rizoma](https://www.emeisaza.com/#rizoma)
- Date: 2016
- Type: piece
- Filters: composition
- Summary: A composition made in 2016 from sounds recorded at Iguazú Falls, between Brazil and Argentina, released by the Italian label Galaverna.
- Image: Cover of Rizoma: fog over a dark ridge
- Role: composition
- Artist / project: eme
- Context: Galaverna
- Location: Iguazú Falls
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/rizoma) / [Galaverna (archived)](https://web.archive.org/web/20200211023718/http://www.galaverna.org/?p=3295)
eme approached field recording "not as a way of capturing the territory but to move, transform and rethink its matter." Granular structures, spatial articulations and echoes are explored at several time scales and rewoven into a network without hierarchy that spreads in all directions, like a rhizome. Galaverna placed it within a long research into microsound and vibration that questions anthropocentric listening.
### [Soliloquio](https://www.emeisaza.com/#soliloquio)
- Date: 2016
- Type: album
- Filters: composition
- Summary: Six pieces for an old Yamaha keyboard and field recordings from Medellín, published by the Japanese label White Paddy Mountain in 2016.
- Image: Cover of Soliloquio: a glowing disc in darkness
- Role: composition
- Artist / project: eme
- Context: White Paddy Mountain
- Location: Medellín
- Collaborators: Chihei Hatakeyama (mastering), Rossana Uribe (cover photograph)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/soliloquio) / [White Paddy Mountain](https://chiheihatakeyama.bandcamp.com/album/soliloquio)
The title names "a silent dialogue that gets renewed on each listening." Keyboard parts sit among soundscapes and found objects recorded across Medellín, where the album was composed and mixed in 2015 and 2016. Chihei Hatakeyama, who runs the label, mastered it, and the cover photograph is by Rossana Uribe.
### [Listening to inner voices and sonic possible worlds](https://www.emeisaza.com/#listening-to-inner-voices-and-sonic-possible-wor)
- Date: 2015-12-16
- Type: interview
- Filters: editorial
- Summary: An interview with the artist and writer Salomé Voegelin, the first in the Thinking Resonance series on Sonic Field.
- Context: Sonic Field, Thinking Resonance
- language: EN
- published: 2015-12-16
- Sources: [Read](https://web.archive.org/web/20250612154438/https://sonicfield.org/interviews/thinking-resonance/)
### [Ecos](https://www.emeisaza.com/#ecos)
- Date: 2015
- Type: event series
- Filters: curatorial
- Summary: A cycle of events, study and experimentation on sound art and listening in post-digital times, run between LAB3 of the Museo de Arte Moderno de Medellín and Éter Lab.
- Image: ECOS label mark with three numbered release discs
### [Escuchas: una selección de arte sonoro actual](https://www.emeisaza.com/#escuchas-lab3)
- Date: 2015–2016
- Type: exhibition
- Filters: installation, curatorial
- Summary: A multichannel exhibition of current sound art in the listening room of the Museo de Arte Moderno de Medellín, from December 2015 to March 2016.
- Image: Escuchas postcard: grey grain under the title of Éter Lab's third lab
- Context: LAB3, Museo de Arte Moderno de Medellín
- Sources: [MAMM](https://www.elmamm.org/exposicion/escuchas-una-seleccion-de-arte-sonoro-actual/)
It gathered works by Alejandro Cornejo, Budhaditya Chattopadhyay, David Vélez, Fabio Perletta, France Jobin, John Grzinich, Manrico Montero, Robert Curgenven, Simon Whetham, Yann Novak and Yannick Dauby.
### [Tempiternidad](https://www.emeisaza.com/#tempiternidad)
- Date: 2015
- Type: album
- Filters: composition
- Summary: Five pieces made with a laptop and a handheld recorder in the mountains of Antioquia in 2015, released by Dragon's Eye Recordings that August.
- Image: Cover of Tempiternidad: a pale sky over a grey sea
- Role: composition
- Artist / project: eme
- Context: Dragon's Eye Recordings (de6013)
- Location: Antioquia
- Collaborators: Alejandro Henao (artwork)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/tempiternidad) / [Dragon's Eye Recordings](https://dragonseyerecordings.bandcamp.com/album/tempiternidad) / [Review, Stationary Travels](https://stationarytravels.wordpress.com/2015/11/22/travelogue-2015-48-dragons-eye-recordings/)
The title is Raimon Panikkar's word for a time in which temporality and eternity are one, a fullness of the present where everyday things manifest eternity. The album listens for it in how sound connects across time scales, from quick microforms to wide networks, using field recordings, found objects, flute and harmonica. Brian Housman of Stationary Travels heard sounds "pristine, crisp, and articulate." The artwork is by Alejandro Henao.
### [Sonic Architecture](https://www.emeisaza.com/#sonic-architecture)
- Date: 2014-09
- Type: essay
- Filters: editorial
- Summary: An essay for Designing Sound on the relations between sound and architecture, from Xenakis's Philips Pavilion to sound as a spatial event.
- Image: The Philips Pavilion at Expo 58, its shells of hyperbolic paraboloids
- Context: Designing Sound
- language: EN
- published: 2014-09
- Sources: [Read](https://designingsound.org/2014/09/sonic-architecture/)
It compares the sound designer with the architect. Both build spaces, one from materials and geometry, the other from resonances, echoes and the properties of imagined materials, carried into storytelling and emotion. The essay leaves the analogy open, as a set of questions about sonic space.
### [An acousmatic invitation](https://www.emeisaza.com/#an-acousmatic-invitation)
- Date: 2014-08
- Type: essay
- Filters: editorial
- Summary: An essay for Designing Sound on acousmatic listening, from the veiled lessons of the Pythagorean school to listening to sound without seeing its source.
- Image: Blind Man's Buff, a painting by Eugène Pierre François Giraud, the lead image of the essay
- Context: Designing Sound
- language: EN
- published: 2014-08
- Sources: [Read](https://designingsound.org/2014/08/an-acousmatic-invitation/)
The essay begins behind the curtain of Pythagoras, who taught from behind a veil so that only his voice reached his listeners, and follows the word to Pierre Schaeffer, who took "acousmatic" for musique concrète and for listening to sound in itself. It ends as an invitation to be quiet, "because listening is active."
### [Designing Silence](https://www.emeisaza.com/#designing-silence)
- Date: 2014-06
- Type: essay
- Filters: editorial
- Summary: An essay for Designing Sound on silence as part of every sound: when we listen to a sound we listen to a silence, and the other way around.
- Image: Charlie Chaplin in City Lights, 1931, the lead image of the essay
- Context: Designing Sound
- language: EN
- published: 2014-06
- Sources: [Read](https://designingsound.org/2014/06/designing-silence/)
Following an earlier piece on silence and the listening experience, it turns to thresholds: the sounds we cannot hear but that are still there, the zero note, the implied sonic space of a film. Quotations from Susan Sontag and Lisa Coulthard frame the argument that sound itself is silent, impossible to catch, a trace of impermanence.
### [Infinite sound in the silence of a grain](https://www.emeisaza.com/#infinite-sound-in-the-silence-of-a-grain)
- Date: 2014-03
- Type: essay
- Filters: editorial
- Summary: An essay for Sonic Field on microsound, the realm of sound particles beneath the level of the note, and the listening it opens.
- Image: The essay on Sonic Field: its title above an epigraph by Curtis Roads
- Context: Sonic Field
- language: EN
- published: 2014-03
- Sources: [Read](https://sonicfield.org/infinite-sound-in-the-silence-of-a-grain)
Opening with Curtis Roads on particle theories of sound, the essay reads microsound as an art of detail and texture, "a reconciliation of matter and data" in Mitchell Whitelaw's phrase. Its argument is that the ground of microsound is listening itself, a microaudition, more than the technology that made it possible.
### [Bonsai](https://www.emeisaza.com/#bonsai)
- Date: 2014
- Type: piece
- Filters: composition
- Summary: A twenty-minute piece by Isz, micro-montaged from field recordings made in Antioquia and published by Ediciones Éter in 2014.
- Image: Cover of Bonsai: moss and lichen in soft focus
- Role: composition
- Artist / project: Isz
- Context: Ediciones Éter (éter03)
- Location: Antioquia
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/bonsai) / [Éter catalogue (archived)](https://web.archive.org/web/20150806012701/http://eter-lab.net/en/eter03/)
*Bonsai* gathers small elements extracted from the soundscape and regroups them through digital processing, opening other points of view on the places where they were recorded. Its epigraph sets the scale: "universes hidden inside universes, look for infinity into infinity." Éter issued it in February 2014 as éter03, as a download and a mini CD-R in an edition of 30, and its catalogue page credits the piece to eme.
### [Burbuja](https://www.emeisaza.com/#burbuja)
- Date: 2014
- Type: piece in two parts
- Filters: composition
- Summary: A piece in two parts by Isz, published in November 2014 by the netlabel La Nevera de Luciérnagas.
- Image: Cover of Burbuja: pale folds of translucent fabric
- Role: composition
- Artist / project: Isz
- Context: La Nevera de Luciérnagas
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/burbuja)
*Burbuja* is the latest of the Isz releases, which between 2011 and 2014 turned field recordings of objects, cities and landscapes into microsound, alongside [Forms](https://www.emeisaza.com/#forms), [Hums](https://www.emeisaza.com/#hums), [Spheres](https://www.emeisaza.com/#spheres), [200X](https://www.emeisaza.com/#200x) and [Bonsai](https://www.emeisaza.com/#bonsai).
### [infinite grain](https://www.emeisaza.com/#infinite-grain)
- Date: 2014–2016
- Type: interview series
- Filters: editorial
- Summary: Fourteen conversations with artists who work with microsound in installation, composition and improvisation, opening with Nicolas Bernier. infinite grain began around 2012 as eme's own microsound project and continued inside Sonic Field from late 2013.
- Image: The Sonic Field page for infinite grain 01: nicolas bernier
- Context: Sonic Field
- items: 14
Conversations on microsound. (14 interviews.)
Interviews
- [Nicolas Bernier](https://sonicfield.org/infinite-grain-01-nicolas-bernier)
- [Yann Novak](https://sonicfield.org/infinite-grain-02-yann-novak)
- [Gintas K](https://sonicfield.org/infinite-grain-03-gintas-k)
- [Richard Chartier](https://sonicfield.org/infinite-grain-04-richard-chartier)
- [Kim Cascone](https://sonicfield.org/infinite-grain-05-kim-cascone)
- [Mise_en_scene](https://sonicfield.org/infinite-grain-06-mise_en_scene)
- [Fabio Perletta](https://sonicfield.org/infinite-grain-07-fabio-perletta)
- [Ennio Mazzon](https://sonicfield.org/infinite-grain-08-ennio-mazzon)
- [Sinan Bokesoy](https://sonicfield.org/infinite-grain-09-sinan-bokesoy)
- [Steve Roden](https://sonicfield.org/infinite-grain-10-steve-roden)
- [Franz Rosati](https://sonicfield.org/infinite-grain-11-franz-rosati)
- [Lawrence English](https://sonicfield.org/infinite-grain-12-lawrence-english)
- [Taylor Deupree](https://sonicfield.org/infinite-grain-13-taylor-deupree)
- [France Jobin](https://sonicfield.org/infinite-grain-14-france-jobin)
### [Levedad](https://www.emeisaza.com/#levedad)
- Date: 2014
- Type: album
- Filters: composition
- Summary: Six pieces made in Medellín in 2013 and 2014 from field recordings, instruments and found objects, published by Ediciones Éter.
- Image: Cover of Levedad: a curved shadow on a warm grey surface
- Role: composition
- Artist / project: eme
- Context: Ediciones Éter (éter06)
- Location: Medellín
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/levedad-4) / [Éter](https://eterlab.bandcamp.com/album/levedad) / [Éter catalogue (archived)](https://web.archive.org/web/20150806012716/http://eter-lab.net/en/eter06/)
The release opens with a question: "search the audible, search the inaudible, is there a difference?" From *Pneuma* to *Gravedad*, the six pieces are sounds woven like routes of nothing, songs for a lightness in which silent bodies hang, the fragile sway of listening between what appears and what does not. Éter issued it in April 2014 as éter06, as a download and a CD-R in an edition of 70.
### [Murmullo](https://www.emeisaza.com/#murmullo)
- Date: 2014
- Type: album
- Filters: composition
- Summary: The second album by Lü, the duo of Alejandro Henao and eme, inspired by haikus from Diente de León's book Chispas de pedernal.
- Image: Cover of Murmullo: a pale blotted texture
- Role: composition
- Artist / project: Lü
- Context: Ediciones Éter (éter11)
- Collaborators: Alejandro Henao
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/murmullo) / [Éter catalogue (archived)](https://web.archive.org/web/20150806012742/http://eter-lab.net/en/eter11/)
The six pieces, from *Madrugada* to *Ecos*, were composed between May and October 2014 and first presented that October at the Planetarium of Medellín, with a cosmic projection and readings of the haikus. Éter issued the album as éter11, as a download and a CD-R in an edition of 80.
### [Respirar](https://www.emeisaza.com/#respirar)
- Date: 2014
- Type: live piece
- Filters: composition
- Summary: A sound piece created live at the Museo de Arte Moderno de Medellín on 27 April 2014, for the curatorial section Sentir la guerra of the exhibition Reserva expuesta.
- Image: Cover of Respirar: a soft grey gradient
- Role: composition / live performance
- Artist / project: eme
- Context: Museo de Arte Moderno de Medellín
- Location: Medellín
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/respirar)
Between performance and installation, the piece played through the museum rooms while visitors walked among paintings by Débora Arango, Ethel Gilmour and Beatriz González that together explore the history of the Colombian conflict and the struggle between political parties. Its epigraph reads: "breathe, just breathe, and listen to eternal silence even amid cries of war." eme donated the piece to the museum's collection.
### [Selected fragments](https://www.emeisaza.com/#selected-fragments)
- Date: 2014
- Type: collaboration
- Filters: composition
- Summary: A collaboration with Mise_En_Scene (Shay Nassi), shaped from field recordings shared online between Colombia and Israel and released by Impulsive Habitat in 2014.
- Image: Cover of Selected fragments: black and white rock texture
- Role: composition
- Artist / project: eme & Mise_En_Scene
- Context: Impulsive Habitat (ihab093)
- Collaborators: Mise_En_Scene (Shay Nassi)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/selected-fragments) / [Impulsive Habitat (archived)](https://web.archive.org/web/20260617195436/https://www.impulsivehabitat.com/releases/ihab093.htm)
The two artists processed each other's recordings intuitively, building a story out of sound fragments exchanged between the two countries. The release holds two parts.
### [Uji](https://www.emeisaza.com/#uji)
- Date: 2014
- Type: album
- Filters: composition
- Summary: Seven pieces of field recordings, sine waves and acoustic instruments, recorded in Medellín and Carolina del Príncipe in 2014 and published by Eilean Rec.
- Image: Cover of Uji: swimmers floating over a dark blue ground
- Role: composition / instruments / mastering
- Artist / project: eme
- Context: Eilean Rec. (eilean 07)
- Location: Medellín and Carolina del Príncipe
- Collaborators: Mathias Van Eecloo (photography)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/uji) / [Eilean Rec.](https://eileanrec.bandcamp.com/album/uji) / [Review, Fluid Radio](https://www.fluid-radio.co.uk/2014/09/miguel-isaza/) / [Review, Make Your Own Taste](https://makeyourowntaste.com/2014/09/08/miguel-isaza-uji-2014/)
Charango, pan flutes, harmonica and a music box move among the recordings. The title is Dōgen's word for being-time, which eme's note for the label describes as every phenomenon understood as an individual moment of time, "like ephemeral sounds floating in the ocean of impermanence." Eilean issued it in September 2014 as map point eilean 07, in an edition of 80 with photographs by Mathias Van Eecloo. At Fluid Radio, Matt Gilley heard soundscapes that "come with a shadow of the unknown."
### [200X](https://www.emeisaza.com/#200x)
- Date: 2013
- Type: piece
- Filters: composition
- Summary: A single long piece by Isz, made from recordings in Llanogrande, Antioquia, and published by the netlabel Impulsive Habitat in 2013.
- Image: Cover of 200X: a blurred green and black frame
- Role: composition
- Artist / project: Isz
- Context: Impulsive Habitat (ihab068)
- Location: Llanogrande, Antioquia
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/200x) / [Impulsive Habitat (archived)](https://web.archive.org/web/20260305163209/https://www.impulsivehabitat.com/releases/ihab068.htm)
*200X* works at the scale of the microscopic soundscape. Insects, birdsong, rain and hydrophone recordings from Llanogrande were isolated, cut into small elements and reassembled, so that the place stays audible while its scale and space change around the listener. Flavien Gillié, writing for the label, heard a work that "originates in the smallest" and "finally reaches the cosmic."
### [Auditum, plataforma de escuchas](https://www.emeisaza.com/#auditum-plataforma-de-escuchas)
- Date: 2013–2022
- Type: listening platform / festival
- Filters: systems, curatorial
- Summary: An interdisciplinary platform for sound, intermedia arts and listening in Medellín and the Aburrá Valley, which grew from World Listening Day into the yearly Semana de la Escucha.
- Image: Auditum wordmark: an ear drawn as a spiral
- Role: founder / curator
- Sources: [Auditum on YouTube](https://www.youtube.com/@auditumfest/videos) / [Archived Auditum site](https://web.archive.org/web/20260317153420/https://auditum.eter-lab.net/)
Auditum began in 2013 between [Éter Lab](https://www.emeisaza.com/#eter-lab) and the Exploratorio of Parque Explora. Its yearly [Semana de la Escucha](https://www.emeisaza.com/#semana-de-la-escucha-2017) and its itinerant events dealt with sound, silence and noise as ways of listening to the territory. The full account is the [selected-work case study](https://www.emeisaza.com/#case-eter-lab).
### [Ediciones Éter](https://www.emeisaza.com/#ediciones-eter)
- Date: 2013
- Type: record label
- Filters: curatorial, editorial
- Summary: Éter's label for sound art and experimental music, which published more than 30 releases by local and international artists from 2013.
- Image: Éter's label mark, a bell-shaped figure of thin concentric lines on white
- Sources: [Ediciones Éter on Bandcamp](https://eterlab.bandcamp.com)
The catalogue opened with [Retorno](https://www.emeisaza.com/#retorno) by Lü in December 2013 and grew into the CD-R series, the Akasha series for ambient from microsound to drone, and later digital and vinyl editions such as [flor](https://www.emeisaza.com/#flor-2).
### [El bosque invisible](https://www.emeisaza.com/#el-bosque-invisible)
- Date: 2013
- Type: concert / acousmatic installation
- Filters: installation
- Summary: A concert and acousmatic installation in Parque Arví that carried sound into the physical space of the forest, as an immersion in other ways of conceiving the natural territory.
- Image: El bosque invisible: tree trunks and canopy seen from below
- Location: Parque Arví, Medellín
### [Llaves](https://www.emeisaza.com/#llaves)
- Date: 2013
- Type: album
- Filters: composition
- Summary: Four pieces by Arpa, first issued as a limited CD by the label Outside and later reissued by Monofónicos.
- Image: Cover of Llaves: a stepped cross and spiral on a blue starfield
- Role: composition
- Artist / project: Arpa
- Context: Outside; reissued by Monofónicos
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/llaves)
The titles are Quechua: *Uray* and *Wichay*, below and above, and *Intiq Chinkanan* and *Intiq Lloqsinan*, where the sun sets and where it rises. Like the other Arpa records, it sets sine waves beside processed Andean instruments in slow, introspective spaces. The digital release dates from July 2013.
### [Mushotoku](https://www.emeisaza.com/#mushotoku)
- Date: 2013
- Type: album
- Filters: composition
- Summary: Four pieces by Arpa, offered as a tribute to meditation and silence.
- Image: Cover of Mushotoku: weathered wood grain
- Role: composition
- Artist / project: Arpa
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/mushotoku)
The release describes sounds without departure or return, like atoms without an owner in an infinite ocean of dreams, where the only listener and the only thing heard is silence. The four titles, *Ku*, *Za*, *Zen* and *Mu*, come from the vocabulary of Zen, and a line by the Zen teacher Taisen Deshimaru goes with them. It appeared in June 2013.
### [Onirismo](https://www.emeisaza.com/#onirismo)
- Date: 2013
- Type: album
- Filters: composition
- Summary: Ten pieces by Roedor combining field recordings from across Colombia with microsound and processed instruments, released by Monofónicos in September 2013.
- Image: Cover of Onirismo: a network of lines and triangles on slate
- Role: composition
- Artist / project: Roedor
- Context: Monofónicos
- Collaborators: Andrea Domínguez (illustration)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/onirismo)
"Material dreams, aether routes, silent illusions": the release offers delicate, ephemeral portraits of infinity in the micro and macrocosm. Urban and natural recordings gathered in Colombia between 2008 and 2013 meet processed acoustic and electronic instruments to explore timbre and the relation between time, form and space, carrying sonic energy across several time scales at once. The illustration is by Andrea Domínguez.
### [Retorno](https://www.emeisaza.com/#retorno)
- Date: 2013
- Type: piece
- Filters: composition
- Summary: A twenty-minute composition by Lü, the duo of Alejandro Henao and eme, and the first release of Ediciones Éter.
- Image: Cover of Retorno: misty violet hills
- Role: composition
- Artist / project: Lü
- Context: Ediciones Éter (éter01)
- Location: Medellín
- Collaborators: Alejandro Henao
- Sources: [Listen](https://lusound.bandcamp.com/album/retorno) / [Éter catalogue (archived)](https://web.archive.org/web/20150806012650/http://eter-lab.net/en/eter01/)
Made in Medellín from field recordings and electronic and acoustic instruments, *Retorno* grows from a short poem about intertwined paths, "always together when separated," where returning becomes the reason for moving. Éter issued it in December 2013 as éter01, as a download and a mini CD-R in an edition of 50.
### [simple.mente](https://www.emeisaza.com/#simple-mente-2)
- Date: 2013
- Type: album
- Filters: composition
- Summary: Three pieces by Arpa made from field recordings of Antioquia and ancient Andean instruments, published by Ediciones Éter in 2013.
- Image: Cover of simple.mente: a band of thin blue lines on slate
- Role: composition
- Artist / project: Arpa
- Context: Ediciones Éter (éter02)
- Location: Antioquia
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/simple-mente) / [Éter catalogue (archived)](https://web.archive.org/web/20150806012656/http://eter-lab.net/en/eter02/)
*Paz*, *Penumbra* and *Vacuidad* pass through fear, shadow, compassion, loneliness and quiet while, in the words of the release, "the mind remains simple, empty, in peace." The complete piece was first shown as an [audiovisual installation](https://www.emeisaza.com/#simple-mente) at Plazarte gallery in Medellín in August 2013. Éter issued it that December as éter02, as a download and a CD-R in an edition of 50, and its catalogue credits the pieces to eme.
### [simple.mente](https://www.emeisaza.com/#simple-mente)
- Date: 2013
- Type: audiovisual installation
- Filters: audiovisual
- Summary: An audiovisual installation at Plazarte gallery in Medellín in August 2013, moving through states of mind toward a simple, empty and peaceful one.
- Image: Still from Simple mente: a band of blue lines on slate
- Sources: [Ediciones Éter](https://eterlab.bandcamp.com/album/simple-mente) / [Piece video](https://vimeo.com/69791500)
The sound came from three pieces made from field recordings in Antioquia and processed Andean instruments, later published by Ediciones Éter as [simple.mente](https://www.emeisaza.com/#simple-mente-2).
### [Sonic Field](https://www.emeisaza.com/#sonic-field)
- Date: 2013–present
- Type: listening platform / archive
- Filters: systems, editorial
- Summary: An independent platform for writing and research about sound and listening, co-founded by eme in 2013 and edited from Medellín.
- Image: The Sonic Field about page
- Status: active
- Role: co-founder / editor-in-chief
- Sources: [Sonic Field](https://sonicfield.org) / [Sonic Field Labs](https://sonicfield.org/labs)
Sonic Field publishes news, reviews, interviews and essays and keeps public indexes of books, tools and concepts. Its research unit is [Sonic Field Labs](https://www.emeisaza.com/#sonic-field-labs). The full account is the [selected-work case study](https://www.emeisaza.com/#case-sonic-field).
### [D34223](https://www.emeisaza.com/#d34223)
- Date: 2012
- Type: multichannel installation
- Filters: installation
- Summary: A multichannel installation made from the sounds of a computer: air, contact and electromagnetic fields, composed into an environment between the organic and the synthetic.
- Image: Frecuencias poster: a coloured floor plan of the exhibition rooms
Sounds curated from a computer (air, contact, EM fields). Composition that manifests a sonic environment between the organic and the synthetic.
### [Éter Lab](https://www.emeisaza.com/#eter-lab)
- Date: 2012–2022
- Type: audiovisual laboratory
- Filters: systems, curatorial
- Summary: An audiovisual laboratory in Medellín for the open exploration of image, sound and technology, through installations, concerts, publications and events in the city.
- Image: An Éter Lab installation: a person reclines beneath a translucent canopy lit with green projected textures
- Role: co-founder / director / curator
- Collaborators: Alejo Henao (co-founder)
- Sources: [Éter Lab](https://www.instagram.com/eterlab)
eme co-founded Éter with Alejo Henao in 2012, directed it and later curated its label and the Auditum festival until 2022. Its work is spread across the portfolio, from exhibitions such as [Escuchas](https://www.emeisaza.com/#escuchas-lab3), [Darién (LAB3)](https://www.emeisaza.com/#darien-lab3) and [Hipnagogia](https://www.emeisaza.com/#exposicion-hipnagogia) to the label [Ediciones Éter](https://www.emeisaza.com/#ediciones-eter) and the festival [Auditum](https://www.emeisaza.com/#auditum-plataforma-de-escuchas). The full account is the [selected-work case study](https://www.emeisaza.com/#case-eter-lab).
### [Hums](https://www.emeisaza.com/#hums)
- Date: 2012
- Type: album
- Filters: composition
- Summary: Eight microsound studies by Isz of objects and soundscapes recorded in the field around Medellín, first issued as a limited CD by the label Outside.
- Image: Cover of Hums: fine pale fibres crossing a grey field
- Role: composition
- Artist / project: Isz
- Context: Outside
- Location: Medellín
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/hums)
Each of the eight *Hums* isolates a small sound captured in the field, an object or a stretch of soundscape, and lets its texture develop slowly at close range. After the limited CD on Outside, the album was released digitally in May 2012 and now circulates only in that form.
### [Medsumoto](https://www.emeisaza.com/#medsumoto)
- Date: 2012
- Type: collaboration
- Filters: composition
- Summary: A collaboration with Darren McClure that weaves the sounds of Medellín and Matsumoto into one journey, released by Impulsive Habitat in 2012.
- Image: Cover of Medsumoto: cracked grey ground
- Role: composition
- Artist / project: eme & Darren McClure
- Context: Impulsive Habitat (ihab048)
- Location: Medellín and Matsumoto
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/medsumoto) / [Impulsive Habitat (archived)](https://web.archive.org/web/20260517151130/https://www.impulsivehabitat.com/releases/ihab048.htm)
The two set out to connect their cities as a narrative. The piece starts quietly in nature and moves toward ever more urban, crowded places, where the cities overlap and circle each other: footsteps in Matsumoto pass their counterparts in Medellín across the stereo field, and passengers on a train leaving Matsumoto station blend into the chatter of Colombian voices.
### [Metrópoli](https://www.emeisaza.com/#metropoli)
- Date: 2012
- Type: album
- Filters: composition
- Summary: Ten sound portraits by Roedor that opened Monofónicos' line for experimental music in February 2012.
- Image: Cover of Metrópoli: an ink drawing of a rodent among leaves
- Role: composition
- Artist / project: Roedor
- Context: Monofónicos (MNE 001)
- Collaborators: Mónica Saldarriaga (artwork)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/metr-poli) / [Monofónicos (archived)](https://web.archive.org/web/20150909224246/http://monofonicos.net/mne-001-roedor-metropoli/)
In the label's words, a rodent wanders through the system recycling noises and combining them into changing structures: worlds built from field recordings and electronic instruments that settle between the concrete and the abstract, "between instinct and the machine," in what it called "our artificial nature." The artwork is by Mónica Saldarriaga.
### [Raíces](https://www.emeisaza.com/#raices)
- Date: 2012
- Type: album
- Filters: composition
- Summary: Five pieces by Arpa for sine waves, processed charango, pan flutes and harmonica.
- Image: Cover of Raíces: an olive green field
- Role: composition
- Artist / project: Arpa
- Context: Inside
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/ra-ces)
*Raíces* was first available on the netlabel Inside and came out on Bandcamp in July 2012. Its pairing of pure tones with processed Andean instruments runs through the other Arpa records, [Mushotoku](https://www.emeisaza.com/#mushotoku), [Llaves](https://www.emeisaza.com/#llaves) and [simple.mente](https://www.emeisaza.com/#simple-mente-2).
### [Reviews of microsound works](https://www.emeisaza.com/#reviews-of-microsound-works-at-sonic-field)
- Date: 2012–2013
- Type: reviews
- Filters: editorial
- Summary: Reviews of microsound releases written for infinite grain, the microsound project eme ran around 2012 and 2013.
- Context: infinite grain, later Sonic Field
- language: EN
- Sources: [Read](https://web.archive.org/web/20250214204204/https://sonicfield.org/reviews/microsnd/)
When Sonic Field began in late 2013, eme merged infinite grain into it, and the reviews moved to the new platform with the [infinite grain interviews](https://www.emeisaza.com/#infinite-grain).
### [Spheres](https://www.emeisaza.com/#spheres)
- Date: 2012
- Type: piece
- Filters: composition
- Summary: A single piece by Isz exploring silence and resonance through recordings of metallic objects and spaces, published by the Spanish netlabel Audiotalaia in 2012.
- Image: Cover of Spheres: dark smoke-like clouds
- Role: composition
- Artist / project: Isz
- Context: Audiotalaia (at055)
- Collaborators: Santiago Merino (artwork)
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/spheres) / [Audiotalaia (archived)](https://web.archive.org/web/20160819093628/http://www.audiotalaia.net/catalogue/at055-isz/)
Through granular and spectral processing, the recordings become "metallic spheres" that combine into the illusion of objects building a space, itself metallic and spherical. The piece leaves a question: "is the listener perceiving a sphere, or is the listener the sphere?" Audiotalaia's release credits the composition to eme. The artwork is by Santiago Merino.
### [atomic valley](https://www.emeisaza.com/#atomic-valley)
- Date: 2011–2013
- Type: generative images
- Filters: audiovisual
- Summary: A series of generative images that visualize microsound, made for the Atomic Valley project between 2011 and 2013 from particle systems, geometric forms and manipulated sonograms.
- Image: Atomic Valley: a sphere of blue particle lines
- Sources: [Listen](https://invisiblevalley.bandcamp.com/)
Series of generative images developed around the idea of microsound visualization for the project Atomic Valley (2011-2013), integrating TouchDesigner particle systems and geometrical forms, altered and combined with manipulated sonograms.
### [Forms](https://www.emeisaza.com/#forms)
- Date: 2011
- Type: album
- Filters: composition
- Summary: Three pieces by Isz shaped by a year-long study of movement in urban spaces, made with a team of experimental industrial designers.
- Image: Cover of Forms: a dim grid of light points shaped like a face
- Role: composition
- Artist / project: Isz
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/forms)
The designers studied three kinds of space and how people moved through them, and from that study defined geometric parameters and irregular polygons. Those shapes became the basis of the sound: field recordings of city activity, processed until they changed form into objects interacting in three different spaces. The release, from December 2011, credits eme as composer.
### [Metamorfósis](https://www.emeisaza.com/#metamorfosis)
- Date: 2011
- Type: album
- Filters: composition
- Summary: Eight songs by Merino & Rat, the duo of Santiago Merino and eme, released by Monofónicos in December 2011.
- Image: Cover of Metamorfósis: sepia branches and roots
- Role: composition
- Artist / project: Merino & Rat
- Context: Monofónicos (MNF 009)
- Collaborators: Santiago Merino
- Sources: [Listen](https://emeiszzz.bandcamp.com/album/metamorf-sis) / [Monofónicos (archived)](https://web.archive.org/web/20150909224401/http://monofonicos.net/mnf-009-merino-rat-metamorfosis/)
Synthesizers, drum machines, found objects and field recordings mutated through 2010 and 2011 into an ecosystem of broken-techno rhythms, a hybrid of organic and synthetic life. The titles move from *Núcleo* and *Roble* to *Faro*, *Éter* and *Páramo*.
### [Ears of the Field](https://www.emeisaza.com/#ears-of-the-field)
- Date: 2010–2015
- Type: interview series
- Filters: editorial
- Summary: Sixteen conversations with field recordists and sound artists from 2010 to 2015, now in Sonic Field's archive, opening with Frank Bry on recording snow.
- Image: The Sonic Field page for Recording Snow Sounds: An Exclusive Interview with Frank Bry
- Context: Sonic Field
- items: 16
Conversations on field recording and environmental listening. The first interview predates Sonic Field's 2013 founding and appears in its current archive. (16 interviews.)
Interviews
- [Frank Bry](https://sonicfield.org/recording-snow-sounds-an-exclusive-interview-with-frank-bry)
- [Richard Devine](https://sonicfield.org/field-experiments-exclusive-interview-with-richard-devine)
- [Edu Comelles](https://sonicfield.org/exclusive-interview-with-edu-comelles)
- [Jez-Riley French](https://sonicfield.org/intuitive-recording-an-exclusive-interview-with-jez-riley-french)
- [Akos Garai](https://sonicfield.org/exclusive-interview-with-akos-garai)
- [Diego Stocco](https://web.archive.org/web/20160817103335/http://sonicfield.org:80/2013/07/exclusive-interview-with-diego-stocco-a-sound-magician/)
- [David Velez](https://sonicfield.org/exclusive-interview-with-david-velez)
- [Cheryl Tipp](https://sonicfield.org/sound-memory-and-environmental-awareness-an-exclusive-interview-with-cheryl-tipp)
- [Simon Scott](https://sonicfield.org/exclusive-interview-with-simon-scott)
- [Yiorgis Sakellariou](https://sonicfield.org/exclusive-interview-with-yiorgis-sakellariou)
- [Vacuamoenia](https://sonicfield.org/exploring-abandoned-soundscapes-an-interview-with-vacuamoenia)
- [Patrick Shen](https://sonicfield.org/in-pursuit-of-silence-interview-with-director-patrick-shen)
- [Matthew Herbert](https://sonicfield.org/field-recording-politics-and-music-an-interview-with-matthew-herbert)
- [Gruenrekorder](https://sonicfield.org/communicating-and-living-sound-interview-with-lasse-marc-riek-and-roland-etzin-of-gruenrekorder-exclusive-mix)
- [John Grzinich](https://sonicfield.org/listening-to-the-processes-that-shape-the-world-an-interview-with-john-grzinich)
- [Francisco López](https://sonicfield.org/expanded-listening-an-interview-with-francisco-lopez)
### [Fotograma Sonoro](https://www.emeisaza.com/#fotograma-sonoro)
- Date: 2010
- Type: sound design blog
- Filters: editorial
- Summary: Spanish-language blog on Hispasonic about storytelling with sound: sound design and field recording guides, interviews, film analysis, and sonic philosophy.
- Image: A 2010 Designing Sound post announcing Fotograma Sonoro, with a screenshot of the original green blog
- Role: author / editor
- Context: Hispasonic
- Sources: [Fotograma Sonoro on Hispasonic](https://www.hispasonic.com/blogs/fotograma-sonoro) / [Launch announcement, Designing Sound](https://designingsound.org/2010/06/28/fotograma-sonoro-new-brother-blog-featuring-sound-design-resources-in-spanish/)
Designing Sound announced it in June 2010 as its Spanish-language sister blog, hosted by Hispasonic, then the largest Spanish-language community for audio production. It carried its own articles alongside translated interviews and features from [Designing Sound](https://www.emeisaza.com/#designing-sound).
### [Featured Sound Designers](https://www.emeisaza.com/#featured-sound-designers)
- Date: 2009–2011
- Type: interview series
- Filters: editorial
- Summary: Twenty-five interviews for Designing Sound with sound designers for film and moving images on the craft behind their work, from Randy Thom onward.
- Image: Randy Thom, portrait for the Behind the Art interview on Designing Sound
- Context: Designing Sound
- items: 25
Designing Sound interviews on the craft of sound for moving images. (25 interviews.)
Interviews
- [Randy Thom](https://designingsound.org/2011/01/behind-the-art-randy-thom/)
- [Tim Prebble](https://designingsound.org/2011/02/behind-the-art-tim-prebble/)
- [Pelayo Gutiérrez](https://designingsound.org/2011/04/behind-the-art-pelayo-gutierrez/)
- [Rob Bridgett](https://designingsound.org/2009/11/rob-bridgett-special-exclusive-interview/)
- [Andrew Lackey](https://web.archive.org/web/20140823233507/http://designingsound.org/2009/12/andrew-lackey-special-exclusive-interview/)
- [Richard Devine](https://web.archive.org/web/20180101070646/http://designingsound.org:80/2010/01/richard-devine-special-exclusive-interview/)
- [Charles Deenen](https://web.archive.org/web/20150320225420/http://designingsound.org/2010/02/charles-deenen-special-exclusive-interview/)
- [Erik Aadahl](https://designingsound.org/2010/03/erik-aadahl-special-exclusive-interview/)
- [Chuck Russom](https://designingsound.org/2010/04/chuck-russom-special-exclusive-interview/)
- [Jim Stout](https://designingsound.org/2010/05/jim-stout-special-exclusive-interview/)
- [Charles Maynes](https://designingsound.org/2010/06/charles-maynes-special-exclusive-interview/)
- [Bruce Tanis](https://web.archive.org/web/20260421223321/https://designingsound.org/tag/bruce-tanis-special/)
- [Rob Nokes](https://designingsound.org/2010/08/rob-nokes-special-exclusive-interview/)
- [David Farmer](https://designingsound.org/2010/09/david-farmer-special-exclusive-interview/)
- [Aaron Marks](https://designingsound.org/2010/10/aaron-marks-special-exclusive-interview/)
- [Tim Walston](https://designingsound.org/2011/01/tim-walston-special-exclusive-interview/)
- [Jamey Scott](https://designingsound.org/2010/11/jamey-scott-special-exclusive-interview/)
- [Peter Albrechtsen](https://designingsound.org/2011/02/peter-albrechtsen-special-exclusive-interview/)
- [Frank Bry](https://designingsound.org/2010/12/frank-bry-special-exclusive-interview/)
- [Ric Viers](https://designingsound.org/2011/03/ric-viers-special-exclusive-interview/)
- [Rodney Gates](https://web.archive.org/web/20151007202910/http://designingsound.org/2011/04/rodney-gates-special-exclusive-interview/)
- [Dave Whitehead](https://designingsound.org/2009/11/exclusive-interview-with-dave-whitehead-sound-designer-of-district-9/)
- [John Kassab](https://designingsound.org/2011/03/the-lost-thing-exclusive-interview-with-sound-designer-john-kassab/)
- [Paul Ottosson](https://designingsound.org/2010/03/the-hurt-locker-exclusive-interview-with-supervising-sound-editorre-recording-mixer-paul-ottosson/)
- [Harry Cohen](https://web.archive.org/web/20160616220929/http://designingsound.org/2011/11/harry-cohen-special-exclusive-interview/)
### [Video game sound interviews](https://www.emeisaza.com/#video-game-sound-interviews)
- Date: 2009–2011
- Type: interview series
- Filters: editorial
- Summary: Sixteen interviews for Designing Sound with game-audio teams and directors on how the sound of games is made, beginning with Stefan Strandberg on Battlefield: Bad Company 2.
- Image: Battlefield: Bad Company 2 artwork for the interview with Stefan Strandberg
- Context: Designing Sound
- items: 16
Interviews with game-audio teams and directors. (16 interviews.)
Interviews
- [Battlefield](https://designingsound.org/2010/03/battlefield-bad-company-2-exclusive-interview-with-audio-director-stefan-strandberg/)
- [BioShock](https://designingsound.org/2010/03/exclusive-interview-with-michael-kamper-audio-lead-of-bioshock-2/)
- [Call of Duty](https://designingsound.org/2010/04/chuck-russom-special-call-of-duty-exclusive-interview/)
- [Dead Space](https://designingsound.org/2009/12/andrew-lackey-dead-space-exclusive-interview/)
- [Dark Void](https://designingsound.org/2010/02/exclusive-interview-with-tom-smurdon-audio-director-of-dark-void/)
- [Crackdown 2](https://designingsound.org/2010/08/exclusive-interview-with-kristofor-mellroth-audio-director-of-crackdown-2/)
- [Fable III](https://designingsound.org/2010/11/fable-iii-exclusive-interview-with-kristen-quebe-kristofor-mellroth-and-shannon-potter/)
- [Medal of Honor](https://designingsound.org/2011/03/exclusive-interview-with-the-audio-team-of-medal-of-honor/)
- [God of War](https://designingsound.org/2010/04/chuck-russom-special-god-of-war-i-ii-exclusive-interview/)
- [Fallout: New Vegas](https://designingsound.org/2010/12/fallout-new-vegas-exclusive-interview-with-audio-director-scott-lawlor/)
- [Mass Effect 2](https://designingsound.org/2011/01/exclusive-interview-with-the-sound-design-team-of-mass-effect-2/)
- [Need for Speed](https://designingsound.org/2010/02/charles-deenen-special-need-for-speed-exclusive-interview/)
- [Prototype](https://designingsound.org/2009/11/rob-bridgett-special-prototype-exclusive-interview/)
- [Star Wars: The Force Unleashed II](https://designingsound.org/2011/01/star-wars-the-force-unleashed-ii-exclusive-interview-with-brian-tibbetts-and-damian-kastbauer/)
- [Transformers: War for Cybertron](https://designingsound.org/2010/07/exclusive-interview-with-the-audio-team-of-transformers-war-for-cybertron/)
- [Unreal Tournament](https://web.archive.org/web/20150918225907/http://designingsound.org/2010/11/jamey-scott-special-unreal-tournament-exclusive-interview/)
### [Designing Sound](https://www.emeisaza.com/#designing-sound)
- Date: 2008–2010
- Type: sound design blog
- Filters: systems, editorial
- Summary: A blog for the study and practice of sound design in film and games, with interviews, reviews, technical articles and resources.
- Image: The Designing Sound homepage, with a snowy mountain lake as the latest article image
- Role: founder / editor
- Sources: [Designing Sound](https://designingsound.org)
Designing Sound gathered interviews, reviews, technical articles and resources on sound design for film, games and interactive media. eme founded it in 2008 and left in 2010; a community of editors carried the site on for years afterwards. Its interview series are listed in the portfolio as [Featured Sound Designers](https://www.emeisaza.com/#featured-sound-designers) and [Video game sound interviews](https://www.emeisaza.com/#video-game-sound-interviews), and the longer story is in the [writing and editorial case study](https://www.emeisaza.com/#case-writing-editorial).
### [Monofónicos](https://www.emeisaza.com/#monofonicos-netlabel)
- Date: 2008
- Type: netlabel
- Filters: systems, curatorial
- Summary: A netlabel and website for sharing electronic and experimental music from Medellín.
- Role: co-founder / co-director
eme co-founded Monofónicos in 2008 and co-directed it until 2010. Its catalogue later carried the Roedor albums, from [Metrópoli](https://www.emeisaza.com/#metropoli) to [Cronotopía](https://www.emeisaza.com/#cronotopia).
## CV
### experience
- 2024– — [aleph::ch'ixi — founder / director](https://www.emeisaza.com/#case-aleph-chixi)
- 2019– — [Momoto Studio — director](https://www.emeisaza.com/#case-momoto-studio)
- 2013– — [Sonic Field — co-founder / director / editor-in-chief](https://www.emeisaza.com/#case-sonic-field)
- 2013–22 — [Auditum — founder / curator](https://www.emeisaza.com/#case-eter-lab)
- 2012–22 — [Éter Lab — co-founder / director / curator](https://www.emeisaza.com/#case-eter-lab)
- 2008–21 — [Hispasonic — editor on audio technology](https://www.emeisaza.com/#case-writing-editorial)
- 2008–10 — [Designing Sound — founder / editor](https://www.emeisaza.com/#designing-sound)
### education
- Transdisciplinary Studies — The New Centre for Research & Practice
- MA Latin American Cultural Studies — Pontificia Universidad Javeriana (ongoing)
- BA Philosophy — Universidad Pontificia Bolivariana
## Contact and profiles
- email: [eme (at) sonicfield (dot) org](mailto:eme@sonicfield.org)
- github: [emeisazam](https://github.com/emeisazam)
- x: [@emeisazam](https://x.com/emeisazam)
- instagram: [@emezzz__](https://instagram.com/emezzz__)
- linkedin: [emeisaza](https://www.linkedin.com/in/emeisaza)
- academia: [emeisaza](https://thenewcentre.academia.edu/emeisaza)
- bluesky: [@emeisaza.com](https://bsky.app/profile/emeisaza.com)
- substack: [@emezzz](https://substack.com/@emezzz)
- youtube: [@emezzz_z](https://youtube.com/@emezzz_z)
- google scholar: [scholar.google.com](https://scholar.google.com/citations?user=-JpaCf8AAAAJ)
## Machine-readable navigation
- [Agent instructions](https://www.emeisaza.com/llms.txt)
- [Markdown sitemap](https://www.emeisaza.com/sitemap.md)
- [XML sitemap](https://www.emeisaza.com/sitemap.xml)