Seemingly, everyday lifestyles are guided more and more by the automated reasoning of algorithms, meanwhile their engineering sits in the hands of a few corporate actors. Algo-r(h)i(y)thms uses technology as an opportunity to extend cognition, to feel the weaving in which all things, humans included, are caught up.

In Spanish, “algo” means “something” and this is first and foremost a space where you encounter rhythmic somethings. It is a sonic and vibrating landscape, a superorganism pulsing into sym-bio-poietic arrangements, where vibrations do not only co-exist, but intra-act in symbiotic alliances across complex reciprocal networks. Jamming, never unilateral and never between two fixed entities, these bodies, living and nonliving, shape the musical composition as much as they are constantly shaped and reshaped by it.

The signals that the participants rearrange come from disparate places and speak other idioms: polluting particles and temperature differentials, supernovas and distant galaxies, shifting temperatures and weather patterns, local spiders’ vibrational communication. From infinitely small to infinitely large, these movements between nested scales cause the room to shift in response: the lights fade, echoes increase. And in the darkness, the room enlarges infinitely, much like the expanding universe, asking those present to listen, or else face the eternal silence of extinction. As the installation breathes to the cosmic and microscopic rhythms that entangle, a new togetherness, forming emergent sensitivities, arises. 

Algo-r(h)i(y)thms is an invitation to expand modes of communication and to pay at-tent(s)ion not only to human world algorithms. Which synaesthetic modes of perception do we need to re-sense the world we live with? Algo-r(h)i(y)thms opens up channels of communication and sociality that cross the borders between senses and species.