Toll composed Matrices of Vision during her Masters in Electroacoustic Composition at the KMH in Stockholm. The piece is a sonic interpretation of a data set which details higher education trends in Sweden across seven decades. It is placed in conversation with her collaborator artist-scholar Tiara Roxanne’s revelatory inquiries into AI bias and data colonialism, where the title references Alexander Galloway’s description of atomised points of view “flanking and flooding the world viewed”.

The compositional study uses data aesthetics as a means to critically engage with the social and political mechanisms that surround us. Specifically how categorisation impacts the way we move through the world. Matrices of Vision expands Toll’s interest in psychoacoustics and tuning as a durational and experiential response to this data, where flutes, strings, vocals and electronics culminate in an emotional sonic meditation. Toll transcribes the data through the Matrices of Vision graphic score, which maps the data with frequencies, or partials, that together make up the harmonic series, an approach which she developed with composer Rebecca Lane. What is reflected in the musical gestures – through glissing, beating and cacophony – is a destabilising of rational systems into harmonic chaos, resulting in what Roxanne describes as a kind of flooding of listening and experiencing, from the body and the spaces that surround the body.

Matrices of Vision was premiered as an ensemble performance in Berlin on 30 June 2022 at KM28 and 6 July 2022 at the Klosterruine hosted by KW Institute for Contemporary Art’s Pogo Bar series. Featuring Lucy Railton, Rebecca Lane, and Evelyn Saylor, along with an introduction by Tiara Roxanne at the Klosterruine. The performances and record are kindly supported by Initiative Musik.