Sener | Sound, Art, Post-Digitalism & Tech Justice
Sound: Vibrations in a medium, such as air, perceived as variations in pressure, resulting from the interaction or movement of elements [1].
Art: A human expression that liberates the self and captivates others.
Post-digitalism: The fusion of digital, virtual, and analog realms to transcend traditional boundaries, creating continuous, transformative loops of expression and experience.
Technological Justice: Justice is the fair and impartial treatment of individuals. Technology is the application of human knowledge and tools to enhance survival, improve quality of life, and extend our capabilities beyond natural limits. In this sense, Technological Justice advocates for equitable access to all technology, ensuring that all individuals can benefit from current technological advancements
In this writing exercise we are trying to express the story behind our work, how we learned about certain concepts and how and why we try to transmit this information. The goal is to help others realize that technology development and cultural equity go hand-in-hand. We must be part of the cultural and technological changes as proactive developers rather than passive consumers. We must be able to create, change and develop new ways of exercising our right to build a more technologically just future.
The quest toward greater meaning, knowledge, and ultimately, freedom is marked by encounters with fleeting wisdom and temporary guides, yet it is in the search itself that we find the deepest insights. Our exploration into sound art and post-digitalism mirrors this hunt, where each step forward brings us closer to understanding not just the world around us, but also the freedom to create, innovate, and transcend traditional boundaries.
In response to the dominant narrative that technological creation is confined to universities and corporations, and thus beyond the reach of ordinary individuals, we work to assess the importance of community-led education and the integration of new models of investigation and tech creation. Our work strives to empower individuals to take control of their technological destiny by examining the intersections of sound art, post-digitalism, and technological justice.
Introduction to Sound Art and Experimental Music
Growing up in a traditional Mexican cultural and musical environment, our childhood resonated with boleros, trios, and mariachi, alongside piano and guitar lessons that nurtured an early passion for music performance. Our maternal grandfather, Don Sergio, played tangos and old folk melodies, while our uncle Roy and aunt Linda strummed Spanish guitars and sang huapangos. On our father’s side, fiestas were frequent, with mariachis filling a bohemian environment where joy and a true love for life’s memorable moments with friends and family were essential. This was in the nineties and early 2000s, before the “guerra contra el narco” [2] began in Mexico—a different, more peaceful time.
This musical foundation, paired with a growing interest in experimental genres, paved the way for our evolution into sound art and experimental music. During our teenage years, we frequently listened to a radio show on Guanajuato state university’s radio station called “Más Que El Ruido,” programmed by radio and sound maestros Roberto Morales Manzanarez and Víctor Manuel Rivas Dávalos. Knowing that such experimental music was being transmitted so close to home made us realize that many others shared the love for the unconventional. This was a mind-bending experience that expanded our understanding of music and sound.
Friendships during our youth also played a big role in this listening development. We were a generation of “ethernauts,” voyaging through the abstract spaces of sound waves and digital music landscapes. Some of these friends included Uriel Orozco, now an internationally recognized keyboard player and IOS arcade music composer, and bass and synth player Buba (Francisco G. Jasso), with whom we formed a classic rock band after college and later the experimental music band “Malos Maestros.” We all met in August of 2001 in a catholic Lasallian high school in León.
In our hometown, Silao, the Olguín brothers, Ricardo and Daniel, had a significant influence on this creative journey (we met Daniel at six years old in elementary school). They owned one of the largest collections of art books and music in town. We spent hours reading and listening to full albums of Krautrock, Blues, Jazz, and various forms of electronic and experimental music.
This foundation of musical exploration naturally led us toward post-digitalism, delving into how sound and technology intersect in transformative ways.
The Shift to Post-Digitalism
In the early 2010s, after departing from multiple universities, our research focus shifted to contemporary art and experimental music, leading us to participate in every workshop related to post-digitality available nearby. One of our first interactions with post-digitalism occurred in 2014 at the Ex Nihilo festival in Guanajuato City, where we encountered André Damiao, a Brazilian experimental musician specializing in sonology. His work, which blends experimental sound art, digital media, and interactive performance, revealed new possibilities in the intersection of sound and technology. This exposure encouraged us to experiment with open source visual coding, microcontrollers and interactive performance, pushing us to use new tools and deepen our understanding of how audience interaction can transform sound art. This experience broadened our practice, helping us integrate technology in ways that make the audience a key part of the art itself.
Another significant encounter during the Ex Nihilo festival was meeting Chilean music teacher Graciela Muñoz Farida, founder of the Laboratorio de Arte Sonoro in Santiago, Chile. Her expertise in sound editing using digital software helped us create “Staswn Ray (0:24),” a digital sound piece that at the time of its creation symbolized our start on the intersection of sound art, technology, and philosophical inquiry. This work was created from a remediated clip of an interview with futurist and synthesizer-builder Ray Kurzweil, one of our key influences. In the interview, Kurzweil discusses the nature of consciousness, specifically how it is only apparent to itself. This concept resonated with us. Using the line where he says, “Consciousness is only apparent to itself,” we manipulated the recording through software and transformed it into a reverberating loop of Kurzweil’s voice, repeating the word “conscious” in a deep, rhythmic tone.
This repetition, combined with effects like reverb and delay, creates a hypnotic, trance-like atmosphere when played on repeat. It was showcased during the Ex Nihilo festival and is available on SoundCloud.
The looping nature of the piece not only evokes a meditative state but also serves as a poetic homage to consciousness itself—almost as if the sound embodies the very concept it explores.
The Ex Nihilo festivals were like signposts on our path, guiding us closer to an understanding of post-digitalism. These were organized by Emmanuel Ontiveros and Paul León, both maestros of experimental music, and co-founders of the legendary mexican noise band Rorschach 3.0.
Guanajuato City, with its rich cultural environment, became the backdrop for this scenario, leading us to experience Arcangelo Constantini’s performance of “8 X 8 Ω / 1 bit”, organized by Proyecto Antipasto, another contemporary art collective. This sound art piece serves as the living embodiment of what post-digital means, both conceptually and physically. Using a combination of analog and digital elements, and manipulating basic circuits and resistors (8x8 ohm) along with 1-bit sound, which is the most minimal form of digital audio. This low-resolution sound—essentially an on/off binary signal—produces repetitive, glitchy, and sometimes harsh tones that he shapes into rhythmic and abstract sonic structures. This piece thrives on the rawness of sound and the imperfections in the digital signal, the sound evolves in real-time, shaped by the manipulation of circuits and resistors that generate physical feedback, noise, and vibration. The audience doesn’t just hear the sound—they feel it through the space, as the sound waves oscillate, filling the room with an intense physical presence. Reflecting the post-digital aesthetics by embracing the glitch and the unpredictability of technology. The 1-bit digital sound, often described as primitive, is paired with analog components, creating a hybrid experience that defies the clean, seamless expectations of modern digital media. Highlighting the material nature of sound and technology, showing that the digital and physical worlds are interconnected.
By using hacked and repurposed materials, we emphasize the post-digital DIY ethos, rejecting the polished products of consumer technology in favor of a hands-on, experimental approach. Glitches, distortions, and physicality exemplify how post-digital work uses technology in a fluid and tactile way, moving beyond the virtual to embrace the analog and material realms.
EACRECMX: An Experimental Music Netlabel
The creation of EAC as a netlabel in 2015 marked another key milestone, co-founded with Luis Sobera (Sohl) and inspired significantly by music producer Charles Modulation.
Charles Modulation’s creative philosophy, centered on combining urban and natural sounds with synthesizers and other electronic and acoustic instruments and traditional sounds like the flute and clay whistles. Unfortunately, his passing in 2022 created a significant void in the electroacoustic music & sound art landscape of El Bajío, particularly in Guanajuato, where his legacy continues vibrating.
Sohl, is an experimental sound artist and music producer from León, Mexico who blends drum sets and synthesizers to craft his distinctive style, merging elements of sound art and ambient music. His unique approach has made him a highly sought-after figure in the North American sound art scene, and as a founder has played a crucial role in shaping EACRECMX’s mission.
This netlabel focuses on original experimental music, bringing together artists who work with electronic media, analog and digital synthesizers, field recordings, coding, and sound artifacts. Positioned in the Left Field of electronic music, the netlabel is known for producing mostly improvisational EP albums and open-call compilations featuring contributions from artists across the globe. Operating under a non-profit model, we ensure that all royalties go directly to the artists, deliberately avoiding the conventional music label structure. This approach not only supports emerging and established experimental sound artists but also aligns with our commitment to promoting emerging expressions within the contemporary music scene.
Moving to Omaha
We moved and established in Omaha in December 2016 and embarked on a new phase and expanded our artistic practice in a new environment. In 2018 we had the chance to participate in a creative festival at OUTRSpaces, this enabled further knowledge of the contemporary music scene in Omaha and fostered connections with like-minded artists.
OutrSpaces had a short but meaningful presence in Omaha closing in 2021 during the pandemic. The space was created to address the lack of affordable, professional rehearsal spaces for artists in the community. Its founders aimed to offer a place where artists could develop their work while breaking down barriers for marginalized groups and promoting inclusivity in the arts. In 2018, we had the chance to participate in a creative festival hosted there, which helped us explore Omaha’s contemporary music scene and connect with like-minded artists. Allowing us to expand our artistic practice in a new environment.
In 2022, to nurture those connections, we founded Soundarte.net, a multi-disciplinary network of creators that blends experimental music, avant-garde sound, and visual art with emerging technology. It has become a center point around which sound artists across the region can gather, share their work, and grow their communities. It is also a practical tool for promoting technological justice through regular DIY synth making workshops that are open to all. Reuse of materials as a revolutionary statement against programmed obsolescence is a key element of this exploration. We emphasize the use of open-source software and the repurposing of recycled materials, empowering participants to create sustainable tools and resist the cycle of waste in consumer technology [3].
During our exploration, we had the privilege to see and facilitate the work of experimental sound artist Dylan Barry, a talented sound synthesis designer from Council Bluffs with a natural instinct for understanding electronics and programming. His journey into sound synthesis and technology began with a foundation in electronics, thanks to classes he took in high school. There, he learned the basics of sound synthesis, which laid the groundwork for his later innovations.
His involvement with Soundarte.net started when in September of 2021 he took one of our granular synthesis workshops at the now-closed Apollon Art Gallery in Omaha. This workshop, based on Arduino technology, was a turning point, inspiring him to explore new projects. Following this experience, he continued developing his own synthesizers and in November of 2024 launched his brand, Loess-Labs.net. One of his standout creations is the Beam Catcher, a synthesizer that uses LED light and frequencies to control sound synthesis. This innovative instrument is already available for purchase online.
We continue developing new open source synthesizers based on microcontrollers for hobbyists, musicians, and educational purposes, allowing users to modify its code to suit their needs. Scheduled for release in 2025. This is the result of a shared commitment to create accessible, sustainable tools for sound exploration. As part of Soundarte.net’s creative program, Dylan contributes with his skills and vision to workshops and development initiatives, reinforcing the program’s dedication to technological equity and hands-on learning. His work exemplifies how accessible tools and collaborative efforts can empower individuals to take control of their technological and artistic futures.
Collaborations have been essential in building a vibrant sound art community in Omaha. Working with academic sound artists like Alex Jacobsen and Stacey Barelos who through her Soundry classes introduced us to the practice of deep listening and graphic music scoring. On the experimental noise side, as well as in the curation and production of events featuring national and international artists, collaborations with Joe W., co-founder of No Coast Noise Collective, Joel Damon, co-founder of Project Project, and Alex Jochim, co-founder of BFFOmaha and Petshop Gallery, have been fundamental. These relationships have fostered a supportive environment for sound art, strengthening Omaha’s experimental music scene.
We often arrive at places where we expect fulfillment, only to find the answers we seek are not there. Our experience in sound art and post-digitalism has shown us that the value of our work lies not in the tools or technologies, but in the process. It is through exploring new possibilities, deepening creative practice, and building meaningful community relationships that our collaborative efforts continue to grow.
The search for meaning, knowledge, and freedom teaches us that the true answers are found not in any final destination, but in the quest itself. Our search for these concepts is not merely about achieving specific goals; it is about embracing the moment, learning from every challenge, and realizing that the freedom we seek is intrinsically linked to the process of discovery and creation. In this ongoing movement, we find not just the answers, but the very essence of what it means to be human.
Our generation has lived through many technological changes. We will witness more changes in the next decade than in all the time prior. Sound art serves as a powerful tool for achieving technological collective justice within a post-digital context. Through workshops, conferences, concerts, album releases, music compilations, and presentations, our work empowers young artists to build their own transmedia and technological tools, fostering a culture of technological independence and collective learning.
Acknowledgements
Our participation in Omaha’s artistic community would not be complete without recognizing the critical role of the following institutions: the Bemis Center for Contemporary Arts, Amplify Arts and BFFOmaha. The Bemis Center, with its world-renowned sound artist residency programs, has provided us with an invaluable platform for deepening our understanding of contemporary sound art. Encounters with notable artists such as Juanjose Rivas, Ana Paula Santana & Veronica Anne Salinas during their time at Bemis significantly shaped our work.
Similarly, Amplify Arts, through its Alternate Currents Cohort, offered us the opportunity to explore new directions in our artistic practice. Amplify Arts gave us not only a platform to publish our work, but also a community of like-minded artists committed to exploring the intersections of visual arts, sound, technology, and justice. This opportunity to publish at such a level is, in itself, an act of technological justice, particularly for someone born and raised in Silao, Guanajuato.
BFFOmaha has also played a foundational role in the development of Soundarte.net. Their invaluable support has provided our producers and artists with access to countless resources and opportunities. Our studio is located within their headquarters, which has given us the chance to collaborate and connect with artists, producers, and organizers. BFFOmaha’s commitment to fostering artistic growth has been instrumental in enabling us to thrive and expand our mission.
Endnotes
[1] This concept came as a result of several conversations and interviews with different sound artists and researchers.
[2] Life in Mexico changed dramatically after the ‘guerra contra el narco’ began in the mid-2000s. What started as a government campaign to dismantle drug cartels quickly evolved into a cycle of violence, with widespread human rights abuses committed by both cartels and the military. Ordinary citizens were caught in the crossfire, and entire communities saw their way of life disrupted. Violations of basic human and social rights became commonplace, as the cartels, the army and other state forces frequently stopped civilians, in blatant disregard of the law. This violence was not an isolated phenomenon, but part of a larger, global trend influenced by neoliberalism. As the state prioritized control and economic interests, the sale of arms and drugs fueled both the conflict and the corruption of institutions. The militarization of the conflict, supported by international interests, only exacerbated the situation, poisoning society and creating an environment where extrajudicial detentions, killings and disappearances became systematic. Much of this violence, it is now known, was orchestrated & condoned by the state itself (supported by its commercial partners), serving the dual purpose of maintaining control and protecting economic gains, with devastating consequences for the people. Let’s never forget.
[3] To learn more about Reuse & Refuse, see Viy’s The Incomplete Manifesto for Refuse (2022) and Refuse All Around Us (2024) for assessment of the topic.
Sener, originally from Mexico and based in Omaha, NE, is founder of soundarte.net and the label EAC Records Mx. Since 2013 he has produced contemporary art events in the United States and Mexico, highlighting Noisefest 2023 and Festival ExNihilo 2023. His approach encompasses sound, the exploration of consciousness through art and musical immersion, investigating post-digital art, and the intersection of ancient traditions with the use of audiovisual technology. As a creator and curator, his mission is to promote cultural exchange and foster artistic innovation through unique sound and visual experiences.