core (2025)

These files have a sample rate of 40 (40 data points per second), while the music we usually listen to is typically at 44 kHz.

How were these values converted into audio?

1. Compression without changing the number of points — the 40 Hz sample rate is mapped to 44 kHz. This means we play back the original data much faster. The duration is shortened, and the frequencies are increased. For example, if the original signal had a frequency of 1 Hz, after such "compression" it would sound at 44100/40 = 1102.5 Hz, which is much higher.

2. Acceleration in 100 times with interpolation — intermediate points are added. Based on the known points, the possible values between them are calculated.

3. Interpolation without changing the duration — frequencies remain the same.

In both the second and third approaches, anti-aliasing filtering was also applied to eliminate any frequencies that could introduce unwanted noise during interpolation.

These seismic traces are translated into sound and low-frequency vibrations that are felt physically as much as they are heard. The performance uses dense sound layers, drones, noise, voice, and powerful subwoofer and ultra-subwoofer systems.

Mark Bain works with the building itself as a resonant structure, allowing the architecture to respond to the vibrations. Khrystyna uses her voice through a throat microphone alongside audified seismic recordings.

The performance is structured as a gradual movement from the surface toward deeper layers, shifting from audible sound toward bodily vibration. It focuses on the physical traces of war and the ongoing movement of the ground, phenomena that are usually registered by instruments rather than human perception.