The piece is built around the idea of a deconstruction of meaning. Words, images, and sounds fade and reappear in unexpected ways, interacting across discursive, visual, and sonic planes.

Through this interaction, each layer gradually loses its original meaning and becomes reconfigured through the others in a continuous process of transformation. The work is guided by a central question: Can art break down meaning in order to open new forms of perception?

A central element of the piece is the human voice. In Drifting Stages, the voice generates textures, sounds, and melodic fragments, moving between its natural and digitally processed states and blending seamlessly with electronics until the boundaries between them dissolve. At the same time, the voice is conceived in its dual condition: as a musical instrument exploring timbral and expressive possibilities, and in its most immediate dimension, as a carrier of everyday sonic gestures. Within this shifting environment, the audience is invited into a dreamlike experience in which perception itself becomes unstable and continuously renewed.

This work was made possible thanks to the support of the Ammann–Falb Scholarship.