A special edition of Boundary Condition marking the launch of ‘Refugees of the Symbolic Network’ album by Cerpintxt, unraveling across live acts and interdisciplinary installations. Cerpintxt performs a semi-improvised live iteration in collaboration with cellist Nina Hitz and pianist Ruben Sonnoli.
Refugees of the Symbolic Network — أَسيرًا في مَصانعُ الحُلمُ is a series of funeral music binaurally spatialized in the convolution reverb of the King's Chamber of the Giza Pyramid, deconstructing the work of Arabic poets Izz al-Din Manasirah & Sargon Boulus. This process is an inquiry into the ritualistic nature of submission to utterance as a spiritual force.; to precipitate a funerary sonic practice; to etch a codex of voices of the forsaken, refugees of the symbolic network, the countless lives buried in the belly of the whale that is history.
Nina Hitz's (formerly of The Kilimanjaro Darkjazz Ensemble) work explores sound as a parallel to life; layered, unstable, and full of contradiction. She’s fascinated by inconsistency, embracing the imperfect and the ephemeral. Ruben’s performances shape environments where moving harmonies and melodies mesh with sonic textures in a delicate balance between cohesion and discord.
Among the opening acts is Daniela Huerta, who co-created the artwork and visual material for ‘Refugees of the Symbolic’. She performs a live set from her recent album SOPLO; a hallucinogenic symphony of vaporous synthetic atmospheres, illusory rhythms, and vanishing voices. Huerta places mythology at the center of her practice, using it as a springboard to explore the origins of consciousness, archetypes, rituals, and collective memory.
The Crevice of History is a trio probing the boundaries and possibilities of historical narration through an immersive, interactive projection system that situates viewers within an open, perceptible, and continuously generative field where words leave only drifting fragments and semantic remnants. In this space, history dissolves from a linear, fixed script into an indeterminate and fluid process of becoming.
The premiere of a site-specific collaboration between Charly Blackburn and Song Xin commissioned for the album launch. Their practices draw from ancient fantasy, material intervention, speculative cosmology, and embodied materiality.
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This edition of Boundary Condition features 9 artists in a hybrid of audiovisual live sets & immersive projections; ancient vessels, phonetic entropy, vanishing voices, codexes, microsonic particles, early romantic influences, atrophy, funerary practices, semantic remnants, generative fields, the politics of mineral extraction, protoconversation, vaporous atmospheres, ancient fantasy aesthetics, drifting fragments, intuitive noise, mythology, the imperfect and the ephemeral, illusory rhythms, decentralized perceptual mechanisms, volcanic rock formations and collective memories in a historic 12th century church.
Refugees of the Symbolic Network — أَسيرًا في مَصانعُ الحُلمُ
Live Iteration by Cerpintxt, Nina Hitz & Ruben Sonnoli
A series of funeral music binaurally spatialized in the convolution reverb of the King's Chamber of the Giza Pyramid, deconstructing the work of Arabic poets Izz al-Din Manasirah & Sargon Boulus. On a site visit to the King’s and Queen’s chambers of the Giza pyramid, the impulse response of the chambers was acquired and is then mapped onto convolution sound effects, transposing compositions within the spectral footprint of the chambers. The album comprises of permutated excerpts in a speech system of phonemes and utterances multi-layered over several cycles until a new language is unearthed. Using speech as an instrument whose tonal or dynamical structure arises solely from the weight of the words to reveal embedded harmonic ciphers. This process is an inquiry into the ritualistic nature of submission to utterance as a spiritual force.; to precipitate a funerary sonic practice; to etch a codex of voices of the forsaken, refugees of the symbolic network, the countless lives buried in the belly of the whale that is history.
https://linktr.ee/cerpintxt
Nina Hitz
Cellist living in the Netherlands, originally trained in Baroque music but drawn to the fringes of sound. A former member of The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation, she has collaborated with dancers, actors, musicians, and performance artists in both the Netherlands and Switzerland, creating works that ranged from tightly structured compositions to more fluid, atmospheric, and unpredictable forms. Her work explores sound as a parallel to life — layered, unstable, and full of contradiction. She is fascinated by inconsistency, embracing the imperfect and the ephemeral. Whether through structured improvisation or intuitive noise, she seeks resonance in all forms, sizes, and silences. She is a member of Belfontis, with fortepiano player Kaoru Iwamura. The trio specialises in early romantic music. She also performs with Traces and Resonances, with dancer Sato Endo, and Jargon (led byMaurice Horsthuis). She has played in theater- and dance productions of Orkater, Olivier Provily, Het Barre Land, Scapino Ballet Rotterdam, les Ballets C de la B, Opera2Day and piano quintet SOUNDS.
https://open.spotify.com/album/2OzjPG4IscVZW6z5bvZTpK?si=s2iTKrRlRn2fIzCXj7niNA
https://open.spotify.com/artist/0rRtkpddIIsS4AQQkUSy1l?si=tnYslXJPRnGRZvSNrzaa9g
Cerpintxt
Cerpintxt is an Egyptian electroacoustic sound artist and acousmatic composer concerned with generating an invented language of a particular strain of softness through phonetic entropy and augmented instrumentation. Working with cut-ups, dialectics, and chaos magick to decimate language and linear constructs of temporality. In an entropic process of lingual erosion into protoconversation, the textural counterparts of her sound include wind instruments, broken turntablism, tape recorders, granular and modular synthesis. She curates the London-based event ‘Boundary Condition’ investigating the parallelization between darkjazz, hauntology, and music concrete as nostalgia-centric sonic practices.
https://www.cerpintxt.com/
The Crevice Of History
The Crevice Of History is a trio by Xin Yan, ZhiYu Han, and Jie Shuai. This work explores the boundaries and possibilities of historical narration. We have constructed an immersive interactive projection system that places the viewer within an open, perceptible, continuously generative field. The words that appear on the central screen deliberately strip away the power-laden terms of grand narratives, leaving only drifting fragments and semantic remnants. Here, history is no longer a linearly completed script but an indeterminate, fluid process of becoming. The viewer’s body becomes the medium of intervention. With each gesture, movement, or pause, the audience reshuffles the words, disrupts their sequence, and reconstructs the imagery. Within this decentralized, fragmented perceptual mechanism, the audience and the work together generate a dynamic tension of perception, where meaning emerges, collapses, dissipates, and recomposes in the improvisational interplay — in the cracks and seams of history.
https://vimeo.com/1073226802?share=copy
Daniela Huerta - SOPLO
A transportive, hallucinogenic symphony comprised of vaporous synthetic atmospheres, illusory rhythms, vanishing voices and evocative environmental recordings, 'SOPLO' ruminates on the enduring resonance of storytelling. It's the first solo album from Berlin-based Mexican multimedia artist, sound designer and DJ Daniela Huerta, who weaves together two soundtracks composed for works by acclaimed Colombian artist and filmmaker Iván Argote. Huerta interprets the politically-charged 'Levitate' and 'Le Fond de la Seine' in her own idiosyncratic manner, using her subtle sonic treatments and offbeat arrangements to sketch an impressionistic narrative that spans epochs and highlights the synergy between film, music and the natural world. Muffling echoes from the original films with her own giddy drones and suggestive textures, Huerta tells a story that's intertwined with Argote's text, but not completely dependent on it. Huerta places an interest in mythology at the center of her practice, using it as a springboard to explore the origins of consciousness, archetypes, rituals and collective memory. She's already well established as a DJ - working under the Baby Vulture moniker - and has performed at a wide variety of venues and festivals, including Berghain, Silent Green, Roter Salon, Houghton Festival, MUTEK MX, Centro de Cultura Digital (CCD), and Berlin's prestigious CTM, and has collaborated with artists such as Ale Hop, Lucrecia Dalt, Concepción Huerta and Ash Fure.
https://danielahuerta.bandcamp.com/album/soplo
Charly Blackburn & Song Xin
Charly Blackburn
Charly Blackburn is a ceramicist and material explorer seeking to reconnect people with the politics of mineral extraction. She does this by exploring themes of ecology, overconsumption and the pressures of our technological demands on the earth and its inhabitants. Different temporalities in both material and social processes are driving forces in Blackburn’s ceramic art which ranges from the chaotic unpredictable forms of volcanic rock formations to exploratory drill core samples and the industrial precision of crystalline silicon wafer engineering. By firing clay alongside other raw materials found within the Earth’s surface, Blackburn aims to discover new behaviours and chemical reactions which mirror the societal and ecological brutality of present and future mining practices.
https://www.charlyblackburn.com/
Song Xin
song xin’s advanced computational practice animates futuristic yet ancient fantasy aesthetics through interactive wearables, installations, and immersive simulations. She has showcased her solo and collaborative work throughout London in venues like IKLECTIK, Fold, and Artsect Gallery, as well as internationally in Berlin, Shanghai, Vicenza, and other cities. Currently based in London, she completed an MA in Computational Arts at Goldsmiths and a BFA in Product Design at the Beijing Institute of Fashion Technology.
https://songxin.site/
HAAR
The collaborative duo of Gisou Golshani and B E O R H T A. HAAR vibrates from the pit of the earth. An untamed (Farsi translation) thick fog (Gaelic translation)as a reflection of and reaction to its environment. The project was founded in a time of mass genocide, and through embodying the grief and rage of different elements such as water, soil and rusting metal, it tunes into land grief and folk mythology. Drone based; featuring extended vocal technique and heavy hauntology.
https://www.instagram.com/_h_a_a_r/
Gisou Golshani is a London-based, multidisciplinary artist from Iran. Through sound art, performance, and poetic chants she performs rituals of belonging and resistance. Through movement and chants Gisou interprets a Persian song’s wish for the universe to resolve current entanglements. Guttural and ethereal live vocals are layered onto industrial doom and drone elements. The Persian lyrics call for freedom, and a release from the trap of doomed fate. Her recent performances include Iklectik Art Lab and Deptford X festival in London, and Diasporas Now UK tour at Humber Street Gallery in Hull.
https://www.instagram.com/gisougolshani/
B E O R H T A emerges from celtic folk traditions, channelling grief work through the voice (caoineadh) with and alongside the land. Their ceremonial performances invite an exploration of ancestral ties and fragmentation as a way to confront mass repression of how we process loss; both personally and interdependently. A spell of evolving and decaying drone, dark votive harmonies and spoken word- this project is dedicated to the magical practice of sharing presence through silence and sound as a form of alchemising grief into mobilising.
https://linktr.ee/Glassforbrains?utm_source=linktree_profile_share<sid=a1c1090f-1b80-47c3-a105-0f5a671940c6
Ruben Sonnoli
Ruben Sonnoli
Ruben Sonnoli, performing simply as Ruben, is an Italian musician and producer based in London. With a background in jazz piano and composition for film, Ruben draws inspiration from neoclassical, jazz, and experimental electronic music. His work fuses harmony, melody, sound design, and real-world sound recordings, exploring their mutual interaction and the possibilities of interlacing disparate sonic forms and disrupting the conventional boundaries of “compatible” and “intrusive” sounds. This focus on blending varied elements has also led him to work on projects that combine sound and other media, such as dance and visual art. Ruben’s performances incorporate processed samples, subtractive synthesis, and live instruments, shaping musical environments where moving harmonies and evocative melodies mesh with sonic textures in a delicate balance between cohesion and discord.
https://www.kinzicastudio.com/about/
Artwork by Cornelia Pierce & Daniela Huerta
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