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Asgary's sound performances use her voice (the body), the environment, and the innate properties of everyday objects as an ether for direct communication in an otherwise disparate circumstance of image. Through improvisational performance, she explores materials and concepts used in her larger practice, such as water clocks, am transmission, frequency interference, and language. 

Select performance and documentation links below.

Wake, 2021

sound composition

26:00 minutes 


I was thinking of what my voice might sound like if it were to travel through my death and back 1,000 times. Around the time that I made this recording, I was thinking about distance and travel through time. Not necessarily about time travel, but how the experiences of different places have their own time structures. In doing so, I was driven by my contemplation of what life in a parallel could sound or feel like if it were to travel and meet another parallel, and with it, all the multitudes it carries, or, the disaporic imaginary. 

Created for Cone Shape Top, CICADA 006: Sholeh Asgary

Additional text and statements can be found via link.

Performance, January 30, 2020

Pro Arts 

A 5-gallon hedpack jug of water fitted as a speculative water clock was continuously activated by audience members as they kept the "time" of the performance running. Each drip and pour was incorporated into the musical set through several contact microphones. The performance began with the first pour of water by the audience, and ended with the last.  

Concert, May 13, 2022

Center for Computer Research in Music and Acoustics, Stanford University

Improvisational performance working through materials of ALBEDO: fluorescent light, radio, and voice. 

Breath, 2018

sound composition

10:27 minutes 

mixing + mastering Thomas Dimuzio


Voice and breath thread through each other, sending signals that encode and activate bodily spaces. A love letter to myself where breath becomes an exoskeleton, I recorded this track using my voice, breath, and electroacoustic feedback. The piece is meant to be listened to in the same way it was made–intimately.

Link to embodied listening prompt created for "In My Own Skin," curated by Kimi Kitada at Charlotte Street Foundation

Performance, February 26, 2019

Flux Factory

Improvisational performance inside of the exhibition and installation, "Anahita."

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