Between 2019 and 2024, the Spatial Instrument series explored a single proposition: that perception itself can be composed.
Each project in the series built environments where spatial audio became an instrument for redirecting how people listen, attend, and make decisions. Rather than placing sound inside a room, the work turned the room into a musical structure, one that responded to the presence and movement of its audience. Listeners did not consume content. They navigated a field of signals, discovering patterns, losing them, and finding new ones.
The underlying research drew on neuroscience of pattern recognition, spatial cognition, and the relationship between architecture and sound. But the driving question was always experiential, not technical: what happens when you give someone control over a sensory environment that is too complex to fully resolve? The answer, consistently, was that people improvise. They build meaning from incomplete information. They project connections where none were designed.
This observation, that the audience’s perception actively constructs the coherence it believes it is receiving, became the conceptual foundation for everything that followed. The tools developed here, spatial audio systems, real-time generative frameworks, audience-responsive installations, now serve a different set of questions in the Concurrentix series, where the focus has shifted from how we perceive to what we believe we are perceiving, and why those beliefs break down.