fluct~ emerges from the phenomenon of acoustic beating, where two nearby frequencies interfere and create slow oscillations in amplitude that shift between tone and rhythm. The work explores this fragile threshold, where the perception of sound moves from harmonic stability to temporal fluctuation, revealing how rhythm can arise from the smallest difference in pitch.

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Like osz~, the piece continues an ongoing research into the infrastructures of the food industry. In both works, pneumatic systems derived from high performance sorting technologies are recontextualised as instruments of sound production. In industrial processes, compressed air is used to separate, sort and expel, to enforce distinction through force. Within fluct~, this same mechanism is tuned to a different function: the generation of interference.

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Two pneumatic valves generate overlapping frequencies, their pressure variations modulated by a generative system that responds to movement within the space. The resulting beatings transform a gesture of separation into one of resonance. What once divided becomes relational, what once excluded now oscillates together. Through this process, fluct~ turns the meeting of frequencies into a living system of modulation, making audible the subtle instability through which vibration becomes time, an acoustic study of precision technology transformed into an instrument of attention.

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displayed at Gallerie CRMI (CH)