My practice engages musical instrument making as a reflective method for exploring how materials, objects, and spaces can merge into acoustic infrastructures. In response to this moment of increasing uncertainty, I move away from paradigms of control toward practices rooted in improvisation. Instruments become resonant systems shaped through interactions, between materials and sonic potential, bodies and spatial contexts, meaning and experience. Recognizing sound as a fundamentally relational phenomenon, I approach listening not only as a mode of perception but as an ethical practice. It invites attentiveness to interdependence, difference, and the conditions under which meaning takes shape. In this sense, listening becomes a way of being with others, both human and nonhuman, and offers space for sonic practices that support more inclusive, responsive, and collectively imagined futures.