Troika

For Pink Noise, the rising Franco-German trio present ambitious new installations and other works exploring relations between sensing, environment, and technology. At a time of climate crisis, and social instability attending digital change, Troika underlines how a blurring of machinic and human imagination ushers in new worlds.

Today, the human sensorium (touch, sight, hearing, etc.) converges with sensors, machine vision, and more. Pink Noise explores how our perception of ‘nature’ is calibrated to digital media’s frequencies and spectra. As new technologies overturn previous limits to what can be perceived, how does our environment change? And what blindspots obtain? Curated by philosopher Dehlia Hannah and art historian/curator Nadim Samman, Pink Noise foregrounds Troika’s artistic reflections on mediated nature and our dis/orientation within it.

Pink Noise refers to an acoustic condition that contains all frequencies in the audible spectrum. The intensity of this noise diminishes where frequency increases (at a rate of three decibels per octave), making it sound even. This frequency spectrum is recognizable in the gentle rush of waterfalls, heartbeats and wind in the trees; indeed, it is a statistical signature of natural systems. Easy on the human ear, pink or fractal noise is used to tune concert sound systems and lull babies to sleep. Environmental sensing, in human machine form, operates through aesthetics attunement to these patterns—and their critical disruption.