AFAIK

AFAIK (As Far As I Know) emits excerpts from experiments and the learning process of sonifying numerical data. The audible data represent amounts of air pollutants (Carbon monoxide , NOx , PM₁₀ , PM₂.₅ , SO)  measured between 1995 and 2015 across various countries worldwide, including those in Europe.

Although the steps regarding components and assumptions were taken consciously, the abundance of available data sources, their analysis and verification, as well as the construction and the process itself, have provoked numerous questions, challenges, and doubts.

Sonification constitutes an interesting method for working within dynamic environments and shifting reality in which, on the one hand, we have broad and rapid access to data, while on the other, their streaming nature and rapid pace of change make it difficult to identify relevant information, form opinions, and arrive at unambiguous answers. 

In the installation, the sound source — an industrial alarm loudspeaker — lies on the ground, emitting sonified fragments of processes, data remnants, scraps of knowledge. The work includes silent passages.

A curatorial text by the 0–1 gallery:
At the intersection of the mechanical and the organic lies a hidden acoustic layer, often overlooked. This is the territory of Bea Targosz, where vibration connects built environments with the natural world. Her methodology is an extension of years spent in the field, translating research into “Situations” — living structures designed to breathe and change in real-time. By tracing the nearly imperceptible shifts caused by the massive machines of our age, the invisible takes a form you can feel. A massive infrastructure that is no longer an abstract concept; it is something experienced with the body.
AFAIK (As Far As I Know) translates two decades of atmospheric data into a fragmented, audible landscape. The system processes global levels of carbon monoxide, nitrogen oxides, and particulate matter tracked between 1995 and 2015. An industrial loudspeaker then routes these readings into sonified bursts of a global thermal instability. The work skips the easy logic of a chart to embrace the friction found in the listening process. It reflects a reality of information as not a path to clarity, but as persistent, unstable noise. The metrics then act less as a clean record of the past, more as a sonic trace that resonates with the uncertainty of a reality that stopped making sense.

set:
2026 – CANK – as a part of the festival 48NK.
2026 – 0 – 1 gallery den Haag (NL) – as a part of the ESC 2035 (II) : We Kept Going. group exhibition at the art space At Sunset.
2025 – Galerie im Saalbau Berlin – as a part of the Neuköllner Kunstpreis 2025 group exhibition curated by Nina Marlene Kraus with curatorial assistance by Diana Nowak and Clara von Schwerin
2025 – Wilhelminenhofstr. 83-85 Berlin, Gebäude 60

photo credits:
0 – 1 gallery
Miłosz Szczęsny