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:
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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.
Hugo Paquete, 2015