Among an ever-restless sea of air, our bodies experience a constant flow of vibrations, also known as sound waves. As previously published in Sound-vibration: Relations between bodies, low frequencies, and multisensory experiments, I consider sound-vibration as a mode of multimodal listening, and we find ourselves at the intersection of an interdisciplinary exploration and the immersive territories of sonic art. This singular mode not only challenges the traditional confines of auditory perception but also invites a deeper engagement with the physicality and resonance of sound, disrupting the boundaries between the self and the surroundings, where the world becomes porous. Within the Poetics of Vibration, we may encounter a vast field of unconventional practices that, in some ways, question the body, while in others, simply invade it without permission.

As I understand it, the exploration of sound extends beyond mere auditory perception, encompassing both cochlear (physiological processes within the ear) and non-cochlear (emotions, cognition, and contextual influences) phenomena, which are considered structurally interchangeable in relation to theories of autonomous or independent effects. Sound’s inherent connection to multiple senses positions it as a multi-field subject, widely examined by experts for its integrative impact on human experience. While academic and scientific research often aims to control, replicate, and manipulate sound, its influence on us can be profound, untamed, and deeply ingrained in the natural world. Thus, the forthcoming discussion, once again, seeks not to segregate sound into a solitary sensory experience but to embrace its integration into our daily lives. By doing so, it aims to illuminate sound’s vast sensory interconnections and its unique potential to enrich our understanding of the energies around us.

However, one might ponder the energies that reside beneath us—what transpires at the auditory level and, subsequently, at the vibrational level in locales that are neither alive nor frequented nor felt. In the realms where everything traverses—the water, whether sullied or pure, the gas that fuels heat and flame, and the light that powers our energy. In a profound leap towards an inner exploration of our thoughts and skin perceptions, we ponder: how do these locales resonate beneath our soles, or indeed, how does one’s body perceive such vibrations? This investigation embarks on a commitment to exploring vibrational phenomena, aiming to delve, through gathered membranes in the unseen septic systems, over the concealed drainage networks. The intent is to attune one’s body to listen to the parts entrenched in the underground, firmly planted in the subsoil of our cities.

We recall a parallel exploration in which we engaged with the Earth as a living, breathing organism. Our foray into this immersive environment was a reminder of our planet’s vitality—a home whose energy and behaviour are continually shaped by time. The ‘Earth Pulse’ (2021) project was conceived to render the movements of tectonic plates and their relentless dispersion of energy more perceptible to us, thereby stimulating contemplation on the themes of risk and instability. Participants were welcomed onto a grass-covered wooden platform, enabling them, through sound, profound vibrations, and tactile sensation, to perceive the Earth as an animated and dynamic being. In the course of this experience, I was struck by a compelling urge to question the precariousness caused by the Earth’s movements and our own fragility in the face of such powerful forces. This exploration, by engaging with the planet’s natural, intrinsic, and ceaseless motion, provided a corporeal and temporal voyage from beneath the surface to the top.

In contrast, ‘Sonic Voyages’ (2024) presents a markedly different experience. We extend an invitation to encounter a distinct kind of unseen vibrations — ones that could be felt in a clandestine manner, offering an uplifting and pleasurable way to engage with those waves. With the support of geophones acting as auditory lenses, we captured these hidden tremors​, which involves a negotiation between the mechanical nature of waves and the ethereal nature of digital signals. Through the process of measuring and documenting the rhythms of manufactured metropolises, we gradually discern the motion of particles as a potent indicator of underlying chaos seeking its organic equilibrium.

Our aspiration is to move beyond traditional acoustic methods, focusing instead on sound’s ability to be felt as echo/physical vibration. This methodological approach broadens when it encapsulates the desire to morph the complex dance of sensory interactions into a palpable, haptic and auditory tale. In this perspective, we intend to share sound-vibration challenges and expand the boundaries of how sound is experienced, highlighting its role as both a medium for artistic expression and a channel for meaning-making in multimodal practices.

Ultimately, this exploration draws upon insights from scholars such as Shelly Trower, Jane Bennett, and Sueli Rolnik, and the unspoken facets of haptics, acknowledging the limitations of language in encapsulating this phenomenon. This exploration represents my current research into the intersection of contemporary art with the sensory, emotional, and conceptual dimensions associated with vibration, in which the significance of these connections combine artistic prisms, which encompass not only physical vibrations but also metaphorical and energetic resonances.