Sven Berg is a German sound artist who works under the name monoyama. In his artistic practice, he explores sound as a state rather than a medium. Through reduction, autonomous systems, and spatial installations, he investigates how perception shifts when sound is understood as structure, behavior, and material. At the center of his practice is the Mobile Laser Projection Machine (MLPM), which he developed himself—a system that translates frequencies into precise light geometries through mechanical transduction. Digital data, electromagnetic signals, white noise, and recorded objects serve as material for works in which sound becomes perceptible beyond the realm of hearing. Rather than producing narratives, these autonomous systems reveal their own internal logic. Sound, light, and space function as interconnected states, making hidden relationships visible through minimal intervention and precise technological processes. His installations and performances create conditions in which sound, light, and space become perceptible as a single system.

MLPM – Kinetic Spatial Installation conceives of sound not as a fleeting medium, but as an unyielding, site-specific state. The work radically dissolves the boundary between auditory transience and sculptural presence. Through three independently developed machines, analog audio signals are directly translated into razor-sharp lines of light via mechanical transduction. Similar to the physical friction of a vinyl needle in a record groove, the devices work with real physical matter rather than digital perfection to force frequencies into precise geometric patterns of light and make sound perceptible beyond the realm of hearing. At the heart of the work lies the shift in human perception between seeing, hearing, and feeling. In the total darkness of the room, the eye takes the lead: viewers perceive sound as structure even before the ear decodes the signal. At the same time, the signal travels directly into the body as a deep, somatic vibration. The audience does not consume narratives but becomes part of a synesthetic system in which the eye literally anticipates the physical vibration of the space. Through an infinite program loop, the three machines operate completely autonomously and reveal their own internal logic. The relentless lines of light cut through the structure and fragment the viewers’ lines of sight. The result is a minimal intervention characterized by maximum technological precision, which allows sound, light, and space to be experienced as a single, cohesive system.