Entanglements

Desire. A field of forces, a choreography of disruptions. It is not a single trajectory; it is an entanglement, a terrain where perception is no longer anchored solely in the human sensorium but distributed across posthuman ecologies. The environment as collaborator, as witness, and as the very substance of articulation. In this shifting landscape, sensory experience is stretched and reorganized. Glitches translated into embodiment, thought behaving like an algorithmic fractal, repeating itself across scales with consequential variations. The post-digital condition is not a rupture; it is an efflux, a slow merging of sensory epistemology with the infrastructures that sustain it. In the expanded sensorium, memory reveals itself as holophrastic, a topography in which concepts propagate not only through space but also through time, binding together what appears disparate. Rogue energies emerging: the emotional architectures of Noémi Büchi, where longing thickens the air. Desiring the Desire constructs a sonic architecture in which longing becomes a structural force, folding emotional intensity into a sculptural field of resonance and rupture. The faint glow of Shinji Wakasa, lingering at the edge of fading away. Faint Light 2.0 marks the boundary between the visible and the invisible, capturing the delicate radiance that remains on the verge of perception. And then there is the mutable narrative of Tanya Akhmetgalieva and Viktor Mazin, where the comic becomes a site of projection and return. Maybe She Would Laugh stages desire as an unstable storyline, oscillating between archival memory, futurity, and the uncanny persistence of the image. Cynthia Zaven’s Sonar Dream maps an acoustic chamber of the subconscious, where dream logic and underwater reverberation form a shared mnemonic terrain. Tuan Mu’s Sunyata approaches emptiness as a generative void, a site where desire dissolves into pure potential, juxtaposed with Gabrielle Le Bayon’s Wheels of Desire, which reanimates cinematic tropes of longing, exposing the mechanical undercurrents that drive both narrative and affect. And we move toward the orbital drift of Manja Ristić, carrying urban sonic residues into the vacuum of space, rendering mnemopolitics into a radical altitudinal otherness that amplifies the fragility of human existence. Only to be met by the tender violence of Ben Frost, where sonic curtains fall through cycles of decay. With Among the Petals, he explores the contrasts embedded in natural cycles, where beauty and decay remain inseparable. The suspended oddity of Sofya Skidan, resisting coherence. What would you call an oddity that hasn’t quite come together? inhabits the liminal state of becoming. Form resists closure, and desire remains suspended. We move into the temporal recursion of Tyko Say, folding past and future into the present, fractures forming a recursive loop, a paradox of spiralling. Only to dive into the latent gestures of Suzana Phialas-dancevatar’s State 01: Idle Draw, which examines the body in states of latency, where movement is held in reserve and desire accumulates as potential energy. Fast forward into the anticipatory mode of Linda Loh, where the nearly arrived moment stretches itself thin. Always Nearly captures the perpetual deferral inherent in desire, the moment that is forever approaching but never fully arrives, while the politics of replication in Dina Veruytina's work boldly redistributes desire across digital bodies. CtrlC/CtrlV reframes the spatialisation of digital commodification into a neurodiverse choreography, opening a new chapter of somatic thinking. And finally, we enter the resonant assemblage of Maria Papadomanolaki, constructing a mnemosonic ecology out of fragments, funnelling memory through vibration rather than chronology. We are then struck by Nika Son’s Scattered sprinkle, no turn, which disperses desire into micro-gestures and sonic fragmentation, refusing linear accumulation. The atmospheric turbulence of João Pedro Oliveira, storms as emotional weather. The infrastructural routing of affect in Yorgos Papafigos, who examines the circulation of affect and information, tracing how desire is routed through networks and infrastructures. And finally, the ritual breath of Andrea De Fusco, currents of deep knowledge wrapped firmly in elemental topographies. Beyond the visible, even beyond the sensorial. These works do not illustrate a theme. They inhabit a shared ecology of entanglement. They reveal how desire circulates through environments, infrastructures, and bodies; how memory is not stored but propagated; how sound becomes a carrier of histories that resist erasure. They invite us into psychonavigation and involve us in the choreographies of listening-sensing and radical embodiment. Attuned to relations rather than fixed destinations, attentive to beyond-human and historical sediments that ultimately shape our orientation. Art as translational epistemology, converting affect into form, loss into resonance, drawing on archetypal frameworks and practices of confrontation. Art that engages and preserves the dignity of vanished ecologies and contested histories through attention as an act of care. What emerges is not a map but a field of possibilities. Entanglements are not obstacles; they are conditions of futurity, the very fabric through which new forms of relation, perception, and desire may yet unfold.