During the bi-monthly Open Sodas event at the cultural complex SODAS 2123, I opened my studio doors to present an immersive audio installation that functions as a direct extension of my field research and my ongoing participation in the global Reveil 2026 dawn broadcast (organized by Soundcamp). Since the overarching theme of this Open Sodas edition was “Light” (Šviesa), I decided to explore this phenomenon not through visual means, but acoustically – by presenting the exact sonic environment of light’s arrival.
Earlier this year, I broadcasted the live acoustic dawn chorus directly from my garden. Building upon this experience, I conducted a series of spatial field recordings over multiple sunrises using a Zoom H3-VR ambisonic recorder. For this Open Studio presentation, these distinct temporal layers of the exact same geographical location were mixed and overlaid into a singular, continuous multi-channel composition. Captured natively in Ambisonic format, the different mornings were blended into one acoustic space, allowing the installation to manipulate the perception of linear time through environmental sound.
The spatial audio mix was transmitted locally via FM radio transmitters. Dispersed throughout the studio space, multiple vintage and portable radio receivers picked up the signal, diffusing a constantly shifting, architectural dawn soundscape that enveloped the visitors.
The physical space of the studio became a catalyst for deep methodological discussions. Dialogue with visitors, curators, and peers naturally expanded beyond the current installation, linking back to my broader research trajectory and past iterations, including:
The sonic and conceptual frameworks of the “High Pressure” project.
The psycho-geographical collective walks of “Pravaikštų klubas” (“The Truancy Walking Club”).
The performative research piece “Einanti eilutė. Bėgiais į Vilnių”, extending the durational walking methodologies developed during my 2025 actions.
As a tangible token of these encounters and shared reflections, I gifted several copies of my book “Walking Is Still Honest*” to the participants, anchoring our discussions of walking as an artistic practice.
