Part of the RE Series.

RE-BIRTH began with a group of friends breathing together in a borrowed yoga studio in Turku.

I had known the rebirthing technique for fifteen years. I had led private sessions. I knew what it opens and I knew the risk.

If someone touches anatta, the dissolution of self, they can lose their footing for a long time. I did not want that on my conscience.

So I waited.

When I finally said yes, I chose people who had their own path, their own reasons. Fredriikka gathered them. We breathed together.

What happened in that room was not mine to direct. I held the space and turned toward the heart whenever I could have pushed.

The erotic quality of it surprised me. Not sexual, but like looking into a newborn’s eyes. That raw.

I recorded everything. Individual lapel microphones on each person. I listened to that material for months.

When MUU Gallery gave me the space, I spent four days installing through Lyme disease, through fever, through doubt. On the third day I realised the music I had made did not work at all. I had three hours.

Fifteen years of theatre sound design rose from the sea like Atlantis. I built a new sixteen channel composition from Hilla’s recitation, its pitch, its rhythm, its emotional intelligence. It was obvious. I do not talk about sound dramaturgy. I just do it.

Fredriikka walked with me from Mechelin Street to the Cable Factory through breathless Helsinki. I listened for the fear rising in her as we approached. I held that.

In the space we surrendered to whoever could see furthest. She entered through the people. Took off her shoes. Settled under the sound pillar.

The mantra began. The bells. Then the rebirthing gesture and the longest fade out I have ever built.

People stayed for eight hours. They began walking meditation. Someone touched the wall and the generative image responded. Someone whispered into a hidden microphone. Children were there. Wine was there.

And that listening space held everything.

Video Documentation

Spatial Walkthrough. 40 Channel Architecture.

Core Material Excerpt. Breath, Bells and Generative Video.

Live Activation. Improvisational Movement Within the Field.

Contextual Layer. Shindoku Text and Spatial Introduction.

Extended Recitation. Full Shindoku Layer.

Why Now

I could no longer make work that stayed at the level of explanation.

I needed to build a condition where attention can stabilise, where breath becomes shared ground, and where listening becomes collective orientation.

RE-BIRTH is not a message. It is a field.