Sound installation created at CAB Patagonia, Residency for Art, Science and Humanities in Patagonia, Puerto Yartou, Chile (2021). Exhibited at the 15th Biennial of Media Arts at the Museum of Contemporary Art (MAC), Santiago de Chile.

Driven by the questions: How does a territory sound? What is its sonic idiolect? Where do sounds resonate once they stop vibrating in the earthly plane?  This project reflects on the extinction of cultures and the sonic imprint they leave behind within a community. Once a culture disappears, do its sounds vanish with it? These questions open the path toward a search for a sonic imaginary and challenge the paradox inherent in sonic archaeology: archaeology studies tangible remains rooted in matter, making the investigation of extinct sounds difficult and placing the notion of sonic fossils in the realm of the speculative.

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Wind harps: the posthumous presence of sound (Arpas eólicas: la presencia póstuma del sonido) is a sound installation that brings back the resonant wind vibrations from the southernmost regions of Chile. Through a vibration speaker that stimulates a tensioned wire in each piece, the wind harps resonate again, through the memory archived within them, singing what these time-sculptures once sang in their own Fuegian territory.