Tini Aliman’s engagement with biomusic begins with the question of silence and the silenced. Rather than merely capturing sounds or imitating tones, she is interested in the unheard—signals that exist but often go unnoticed.
As a sound designer, she uses technology to measure the galvanic conductance in living organisms. She explores a form of bio-electricity and transforms that data into sound. Her aim is not to translate these processes into a language comprehensible to the human mind, but rather to make them perceptible as independent sonic phenomena.
Through the transformation of bioelectric signals into sound, the artist invites deep listening—a form of conscious auditory engagement that goes beyond mere perception. Her goal is to create a space for contemplation and deeper understanding, where listeners can engage with the sounds on a sensory and reflective level.
A central element of her sound practice is the idea of a “negative space”—the interval between the memory of a sound heard and the anticipation of the next. She does not perceive this silent gap as a mere absence of sound but as a meaningful moment of reflection.