"Away” (2024) explores two parallel streams of meaning. First, a continuum of ambient noise is developed by continuously juxtaposing, hybridizing and reconstructing human and computer-generated breathing and voice sounds alongside material from electronic devices and outdoor recordings of heavy machinery. This creates a liminal space where bodily sounds inhabit machine processes, and builds on previous explorations of how living presence can be inferred in sound art. Secondly, the idea of being present in different places is presented by relying on sound sources that are relate to my own exper...