Campo

Grant the microphone and stay still. For ten seconds Campo listens to the room — a countdown ticking, a meter twitching at every sound — and keeps none of the audio itself, only a handful of measured features: where the energy sat across the spectrum, how bright it was, how loud, how much it moved, and when it spiked.

Those features are painted as a field of colour — stacked, soft-edged blocks feathered into a saturated ground, cloudy within, with splashes bloomed from the loudest moments. The same ten seconds would always return the same field. A specimen of air, listened once.