Spectral Textures
An archive of listening practices where geography dissolves into frequency, and sound becomes both document and fiction.
Additive synthesis enters not as a technological flourish but as a method of analysis. By rebuilding sound from sine components, it exposes the politics of timbre: which frequencies are amplified, which are suppressed, which are deemed meaningful. The supposedly neutral act of listening becomes architectural. Sound is no longer continuous but modular, a stack of decisions layered in time. In this sense, synthesis does not simulate the real—it interrogates it, frequency by frequency.
What emerges is neither field recording nor synthesis in their conventional forms, but a hybrid practice of spectral writing. Urban hums blur into harmonic clouds; insects become unstable oscillators; wind turns into a slow-moving chord whose origin is no longer locatable. These works resist narrative closure. They do not document a place so much as destabilize it, replacing geography with topology, site with spectrum.
Spectral Textures operates as a platform rather than a genre. It is concerned with listening as a critical act, with sound as an index of systems—ecological, technical, economic—that exceed human scale. Here, texture is not surface but depth: the accumulation of micro-events that refuse to resolve into melody or message. To listen is to inhabit this density, to accept sound not as representation, but as a field of forces continuously under construction.