Awaz Karo is a 32-minute sound piece composed from recordings made in Kolkata, India. It unfolds through a sensory, anthropological, and subjective approach to the soundscape. The title, commonly found on the back of delivery trucks in Bengal, derives from languages such as Urdu, Hindi, or Punjabi. It can be translated as “Make some noise,” “Speak,” or “Express yourself.” It functions as an invitation to communication—an encouragement toward social and sonic interaction with an organizational purpose. To produce sound, and in turn listen to the world’s response—voices, impacts, flows—is to engage with signs that resonate and generate meaning.

The composition relies on a minimal recording practice: two omnidirectional stereo microphones held in each hand. This setup implicates the body in active listening. My arms become mobile sensors; through movement, I shape presence, proximity, and spatial perception. The intention is not to seek out sounds, but to let them arrive—human and non-human, materials and gestures alike. This posture fosters a state of open attention, where recording becomes both an act of listening and a way of inhabiting the world without imposing structure or control. Between frictions, saturations, and suspended durations, Awaz Karo constructs an unstable temporality shaped by rupture and renewed attention.