For a long time, humans have understood perception as a tool to comprehend the world. Only what can be seen, heard, or felt was considered to exist, and perception was used as a means to collect, control, and categorize information. Yet, sensations that are unseen, unheard, and untouchable also operate and exist within the world.

《Autopsy of Sensing》 explores this gap, based on repeated encounters in New Zealand with the deaths of birds—particularly those resulting from collisions with windows—and on the non-visual sensory structures of kiwi and kakapo.

I sonified texts, images, collision data, and photos of the objects using Ableton and Max for Live, and the resulting output is realized as vibrations through two resonating objects: one ceramic and one glass. Each object alludes to the dissected structure of a dead bird, functioning not as a mere reproduction but as a sensory organ that produces distinct resonances.

The vibrations are generated via bone conductor transducers and amplifiers, not to convey messages or meaning, but to remain as fragments of sensation, ghosts of perception that persist even after disappearance.

I unfold the deconstruction and afterlife of sensation through the vibrations and sounds of the two objects, which the audience witnesses but cannot fully interpret. This work records what remains after sensation has vanished—the ghost of perception—and serves as an act of mourning the disappearance and residue of existence.

It is a sound performance of roughly 10 minutes, based on pre-arranged sequences in Ableton that I improvise with during the piece. The sound is produced in Ableton and played through a bone-conduction transducer connected to an amplifier, which resonates with ceramic and glass objects that abstract the skeletal structure of a bird, allowing the sound to be re-amplified through their material resonance.