In his works, Ljubljana-based intermedia artist Marko Batista analytically thematises DIY electro-acoustic processes at the intersection of electronic sound, technology and contemporary art. On display in Aksioma is his exhibition Sonic Geometry of Space, conceived as a prototype of a hyper-acoustic capsule. The ambient set-up designed by Marko stems from long-standing sound experiments, for his work is based on the exploration of dynamic self-generating systems and the phenomenology of sound resonances in space. He draws the phenomenality of sound from temporally determined processes within intermedia performing practices, and he attempts to design new modes of the distribution of acoustic resonances in space. The history of electro-acoustic art reveals the complex phenomenality of sound and the relations concerning the time and architecture in which it is located. Sound undulation can be perceived as a series of physical phenomena or as the non-material gestuality of the surrounding objectivity. The question that continues to arise is thus: is electro-acoustic art, in its essence, able to elude its meta-position of listening? Over the past few years, Marko’s site-specific installations have been presented in various galleries, and they offer their viewers a space of apperception and, at the same time, sensory perception. Spatial sound, which is characteristic of Marko’s work, is created by means of aesthetically designed modular interfaces and prototypical acoustic resonators, which were designed especially for the exhibition. The material for the exhibition derives from the inventions of the previous millennium; the show problematises the processes of the production of electro-acoustic artefacts and processuality. By means of sound objects created in the studio, the viewer is led to the questions of sound reality and phenomenality of the phenomenology of sound within contemporary art practices.