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Absonus Lab
Home
About us
What we do
Creation
Curatorship
Podcast
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Online Residence
Conveniences
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  • About us
  • What we do
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  • Curatorship
  • Podcast
  • Research Group
  • Online Residence
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  • About us
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Absonus Lab: Where Sound, Technology, and Critical Thought Collide.

Absonus Lab is guided by a framework of post-techno aesthetics—a radical methodology that critiques and expands the powerful role of sound within technological society. This aesthetic, invented within the lab, moves beyond genre to disrupt conventional forms through algorithmic uncertainty, glitch, and post-human collaboration.


Our research probes the critical questions embedded in sonic practice: How do digital tools shape cultural meaning? What political assumptions are encoded in algorithms? How does sound materialize the rhythms of capital and technology?


 Informed by cybercultural and technocultural perspectives, our work operates at the intersection of sound studies, digital art, and practice-based research. This methodology treats the acts of composing, performing, and building digital instruments as vital forms of inquiry themselves. We fuse this hands-on experimentation with critical theory to examine how subcultural art communities interact with technology as a site of imagination and resistance, constructing techno-ethnographic narratives that challenge dominant infrastructures. At its core, we investigate sound as both an artistic material and a tool for critical engagement, unpacking the entire sonic ecosystem, from the minerals in our devices to the metaphors in our minds within post-digital, post-industrial, and post-techno frameworks. 


We are composers, sound artists, programmers, and thinkers united by a desire to redefine the boundaries of sonic art.


Areas of focus include:


  • Artistic Practice: Composition, Performance, Sound Art & Spatialization.
  • Interaction & Code: Computational Music, Interactivity, and Gesture.
  • Critical Theory: The politics and ecology of sound; society, culture, and discourse.
  • Media Hybridity: Visual Music, Synesthesia, and Digital Media Art.
  • Sonic Cognition: Perception, hyper-sonics, and non-visual representation.
  • Technology & Culture: Industry, innovation, obsolescence, and hyper-instruments.
  • Preservation: Archiving and documenting sonic heritage for the future.


Your creative and critical practice can find a home here. Let's build what's next, together.

Explore our research  and connect with us.

CO₂-to-MIDI System: Turn Air into Music

Custom CO₂-sensing hardware, incorporating a Teensy microcontroller and environmental sensors, was d

 Developed between 2013 and 2024 by Hugo Paquete, Christopher Zlaket, and David Stingley, with support from Absonus Lab : Sound Research, Technology and Culture , this hardware system transforms real-time CO₂ and temperature data into expressive musical output. Designed for experimental performance, installation, and live composition, it turns audience breath and environmental shifts into dynamic sound. 


 Originally built for the opera Negentropy: The Last Man in the Wasteland (2024), the system embraces unpredictability, using environmental data, sonification, and randomness to generate immersive, evolving soundscapes. It’s not just a controller; it’s a living instrument shaped by the space around it. 


 Born from experimentation at Absonus Lab, this system redefines computer music. It invites composers and sound artist to treat data as a creative force, where every breath becomes part of the score, and every shift in the air reshapes the sound. 

Latest Research

Post-Apocalyptic Negentropy By Hugo Paquete. 2025 (pdf)Descarregar
Sound Art and Technology as Speculative Realism by Hugo Paquete. 2024 (pdf)Descarregar

The sound-event as immanence in cognition is at the same time event, vibration, experience, spectrum, and memory, crossing all states of consciousness.


Hugo Paquete, 2015

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