An architecture made of sound — never settling into a stable configuration, always in motion. Not (so) Human traces trajectories gathered during long-term fieldwork in Southern Africa, first staged as a solo music performance, later adapted for dance. I played and recorded three instruments: a Kalimba and a Kudu Horn, both sourced during a 2023 visit to the ILAM archive of Sub-Saharan recorded music, and a Mamokhorong from Lesotho — blending them with live electronics into a cohesive musical narrative.
The sonic space, much like the trajectories traced during fieldwork, develops according to serendipitous encounters in the moment. These trajectories define an architecture the body experiences from within. The sonic structures that emerge from feedback loops with the physical architecture of performance venues build bridges between visible and invisible materiality.
The closing audiovisual poem, We Are All Cyborgs Now, situates the social contract on the dance floor — where non-verbal communication takes place without (yet?) being surveilled — and identifies dance floors and rituals as safe spaces. Cut-up voices about surveillance compose the soundtrack, while the texts in the video are drawn from reflections I noted while being part of a research group on surveillance.
The piece argues that digital worlds, and the surveillance woven through them, along with their virtualities, must be decolonised and decentralised. It calls for a plural vision of these worlds — after all, they are augmentations and immersions of selves as communities. By paralleling my work with traditional knowledge systems, the field of possibilities within digital spaces shows how pre-conscious encounters and prehension create conditions of trust, threat, and belonging that shape our collective capacity to inhabit shared virtual territories with our bodies. The digital remains a vast vessel, adrift in trajectories it did not choose — and digital security, in this view, is fundamentally about the architecture of community formation rather than merely technological protection.
credits
releases December 4, 2026
Kudu Horn, Kalimba, Mamokhorong and Electronics by Luca Forcucci
Recorded, Arranged and Mixed by Luca Forcucci at Atomic Baby Berlin
Photography by Luca Forcucci, Mmabolela, Limpopo Region, South Africa
Mastered by Lawrence English at Negative Space