Aisles of Mimetica is a sound installation exploring acoustic mimicry across species and systems. The installation consists of experimental sculptural forms, found objects, and a companion essay that is intended to be read in parallel.

This practice-based research project recognises acoustic mimicry as a mode of interspecies interplay and human-machine engagement that serves purposes such as adaptation, communication, resistance, surveillance, and survival. It investigates how organisms and technologies use sound and listening as a means to imitate, replicate, reference, and copy the sounds and signals of other species, machines, and environmental sources.

Central to the project is the study of acoustic mimicry in moths, and their ultrasonic communications with bats, whose sonic capabilities have emerged through millions of years of co-constituted intra-action. While the emergence of these sonic relations has been described as a co-evolutionary battle, Aisles of Mimetica serves as a proposition to question the impacts of applying anthropocentric conflict frameworks to interspecies interactions. Asking, if we break with the language of binary conflict, might this process stand as a model for resistance—a resistance that emerges as a relationally informed, active intervention—a strategy that alters the terms of engagement and, importantly, makes space for survival through the refusal, replication, and reproduction of sound.

During the exhibition, the installation records audio, however, this recording is intermittently interrupted by ultrasonic sound that is emitted from transducers embedded in the sculpture. These transducers "jam" the recording microphone, simulating how moths interfere with bats' ultrasonic signals. Both the disrupted and undisrupted recordings are played back intermittently throughout the exhibition, inviting audiences to question—how has the role of acoustic mimicry, as a relational and adaptive phenomenon, developed across time, species, and technologies?