This 15-minutes original performance, titled [HYPER]aesthesilatio, engages with the concepts of Umwelt (von Uexküll, 1934), enaction (Varela, Thompson, Rosch, 1991) and habituation (Thompson & Spencer, 1966; Rankin et al., 2009). Also drawing on Schwab’s notion of “transposition” (2018), it aims to transpose and isolate “harmonic” sensory characteristics – both musical and spatial frequencies – captured through field recordings in environments with/without ventilation systems. The contribution raises key questions: What do we hear? What do we see? Do we see what we hear? Do we hear what we see?... In light of the mentioned theories and concepts, how can humans, as living organisms, inhabit different "Umwelten" related to ventilation systems, even within shared environments? This aesthetic and sensory exploration, followed by a conversation with the audience, seeks to expand the dialogue around the aesthetics of ventilation sound in relation to our perceptual and cognitive experiences, emphasizing the role of repetition and familiarity in shaping our sensory awareness. Moreover, it highlights the phenomenon of sensory processing sensitivity (Aron, 1996; Acevedo, 2020), considering how individuals’ unique sensory thresholds interact with ventilation systems. This interdisciplinary exploration bridges sound art, cognitive theory, and acoustic ecology, offering a space for both aesthetic contemplation and theoretical reflection on the human interaction with ambient soundscapes.
Keywords: audiovisual performance, sensorialities, sensorium, Umwelt, wind