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Sound supports an archaeology of movement. The approach to sound in 'Depth Unknown' takes multiple directions, starting from the so-called “materiality of sound” and its relation to space and time, as a reflection on the different human relationships - political, social or scientific - to history and geography. In our case, it is the materiality of the sounds of Sebastia, with both its historic and present-day complexities.

The materiality of sound is a materiality of invisibility and disappearance, in the way in which sound resonates through senses and cognition into fading-out tides. This aspect is approached through a multi-channel sound composition, based on the processing of multi-directional field recordings done in Sebastia, together with the recording of a live-processing of stones and ceramics as musical tools. Those recordings are used to emphasize notions of space and time, in the way in which the sounds are spread across 12 speakers, to give a sense of distance and depth at the same time and represent the intersection of vertical and horizontal layers. The temporal aspects of sound such as duration and rhythmic structures are manipulated in order to create different sound layers, in order to create the movement of sound to resemble different transformations which are in turn related to the historical, geographical and archaeological transformations of Sebastia and its underground.