Embracing slowness with Camila Colussi

Camila Colussi, a Chilean artist based in London, discusses her sound-light interactive installation "Tectonic Lingering: A microPolitics of Time". The piece explores the concept of time and the acceleration of technology, inviting viewers to pause and reflect. The installation features an LED light display that responds to real-time earthquake data from around the world as well as an interactive sound component that tells stories about earthquakes and time. The interview explores experiences of time, place, and Camila’s process.   

 

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Highlights

• (0:01:39) Camila explains the concept of "Tectonic lingering" and how it relates to her personal experience with earthquakes in Chile.
• (0:06:05) Camila describes the LED light display in the installation and how it interacts with earthquake data.
• (0:07:20) Camila discusses the sound interactive system in the installation and how it tells stories about earthquakes and time.
• (0:10:42) Robin reflects on how experiencing tremors in Chile changed Camila's awareness of the world.
• (0:13:03) Camila discusses the fragility of the earth and how it can be taken for granted.
• (0:15:13) Camila explains the intention behind creating an invitation to linger with the installation.
• (0:16:21) Camila discusses the use of headphones in the installation and how it enhances the immersive experience.
• (0:19:34) Simplifying the technology for portability and accessibility.
• (0:21:35) The piece started from a desire to explore slowness in technology.
• (0:24:02) Making decisions and refining the concept over time.
• (0:25:05) Writing, drawing, and prototyping to develop the piece.
• (0:29:05) Challenges and iterations in the prototyping process.
• (0:33:12) Advice for artists working with interactivity. Camila discusses the need for flexibility in physical computing projects.

About Camila Colussi

Camila Colussi, a Chilean artist based in London, has an MFA in Computational Arts from Goldsmiths University of London and currently works at Kingston University. She works across mediums like installation, video, sound, objects, and interactive technologies. Her art explores the nexus of technology, politics, and human experience, focusing on the political dimensions of time, care, and sensing technologies. Colussi's pieces have graced prestigious venues globally, earning her accolades like a 2023 Lumen Prize nomination and grants such as the 2020 FONDART Nacional from the Ministerio de las Culturas, Chile. She is also a sought-after speaker and educator, sharing insights worldwide.

Takeaways from this interview with Camila Colussi 

Description of “Tectonic Lingering: a microPolitics of Time”

“Tectonic Lingering: a microPolitics of Time” installation consists of an LED light display that surrounds the viewer and responds to real-time earthquake data, creating a visual representation of tectonic movements. There is a sound component triggered by touching copper tape on the floor, inviting viewers to sit down and engage with the piece on a sensory level.

When the ground moves

"When a tremor happens, it feels like a moment in which everything stops," and "I wanted to create something that was an invitation to linger."

Camila's inspiration for the piece comes from her personal experiences living in Chile, a tectonically active country, and her observations of how tremors and earthquakes can disrupt our sense of time and presence.

The process

The creative process behind "Tectonic Lingering" involved prototyping and iterating on the technical aspects of the installation and making them as simple as possible by moving from working with Max/MSP to only working with an Arduino.

Advice

"Test and iterate and prototype and maybe be flexible. I had an idea of what I wanted to achieve, I had to make decisions during the making that were not maybe what I imagined from the beginning, I had to be flexible."

Links from the podcast  

• Learn more about Tectonic Lingering: a microPolitics of Time   
• Visit Camila Colussi’s website 
• Follow Camila Colussi on Instagram  

Transcript of this interview with Camila Colussi

How to use physical computing in interactive installations

Robin Petterd: What’s it like to experience Tectonic Lingering: A microPolitics of Time?

Camila Colussi: Well, Tectonic Lingering is a sound and light interactive installation. It has two main parts. One is the interactive sound component, and the other is the LED light display that fills the room. The work combines reflections on tremors and earthquakes. I come from Chile, a country located on a tectonic plate, so earthquakes are part of our daily life.

The project also reflects on time—how we experience it in our contemporary era. There’s a constant sense of acceleration, of always racing against the clock. Technology, especially things like AI, seems to be pushing that pace even further. The piece explores the intersection of those two things: my personal experiences with tremors in Chile and broader reflections on time in our tech-driven world.

What is a sound and light installation using real-time data?

Camila Colussi: The installation itself has LEDs on the floor, arranged in a wave-like formation on a metal structure that surrounds the viewer. When you enter the space, you’re surrounded by this ongoing movement of light. These are addressable LEDs, so the beams move constantly in different directions.

But they also respond to real-time earthquake data from the US Geological Survey. Most of the time, the system runs this gentle, shifting light pattern. But when an earthquake is detected—and it can be a very minor tremor, the kind we don’t usually feel—the entire light system freezes. All the LEDs switch to full illumination. The length of time they stay lit up depends on the magnitude of the earthquake. So when you visit, it’s quite possible that you’ll encounter one of these moments.

Alongside the lights, there’s also a sound component triggered by physical interaction. On the floor, there are headphones and copper tape. To hear the audio, you have to sit down, touch the copper tape, and stay connected. That action triggers a composition that shares stories about earthquakes and time. These are personal reflections grounded in my experience of growing up in a tectonically active place.

Can technology be used to slow down our experience of time? The stories talk about how tremors become part of your identity or your body memory. Then the sound moves into reflections on time—especially how those moments of seismic activity interrupt daily life. In Chile, when a tremor happens, you have to stop what you’re doing. Even though everything is shaking, it feels like everything freezes. You become fully present: feeling your body, your surroundings, listening to what’s going on around you. It’s an enforced mindfulness.

When I moved to London to study, it was strange to realise that earthquakes don’t really happen here. It took a while to notice it, but the absence of that seismic activity made me realise how much it shaped my awareness. In Chile, any little vibration makes you wonder: is this going to be a big one? You carry that sensitivity with you.

I’ve shown the piece in both Chile and London. The responses vary, which is fascinating. In London, many people have never experienced an earthquake, so the whole concept feels fictional. Others have lived through them, but in very different contexts. The diversity of responses has been really valuable to witness.

How do artists prototype interactive sensor-based installations?

Robin Petterd: That shift in perception—especially how solid ground isn’t actually so solid—is such a powerful idea. And in your piece, having people sit on the floor, touching the copper, that seems really intentional. Did people actually engage that way?

Camila Colussi: Yes, and that was a wonderful surprise. People were curious. The LEDs draw them in, and then they notice the sound piece. It’s a very conscious decision to sit down, put on headphones, and linger. I wanted to create something that invites people to stop. That’s where the name comes from—tectonic lingering. You can’t just consume the piece quickly. You have to make the choice to engage, to sit, to listen.

The headphones were originally a practical choice—the first time I showed the work, it was in a group show with a lot of sound. Headphones helped create a more intimate space. But that decision really worked. It made the experience more personal.

Robin Petterd: Did you include any instructions, or did people just figure it out?

Camila Colussi: There was a very minimal instruction, more like an invitation. On the floor, near the copper tape, it simply says, “You can sit down and listen.” And people did.

Robin Petterd: What’s the technology behind the piece?

Camila Colussi: For the lights, I use an API to pull real-time data from the US Geological Survey. The system updates every minute. I use an Arduino Uno to control the LEDs. For the sound interaction, I use copper tape as a sensor, connected to a Bare Conductive Touch Board—a microcontroller similar to an Arduino. It’s all relatively simple technology. I started with Max/MSP but later simplified it so everything could run without a computer.

That decision was partly practical. I needed the piece to be portable—to fit in a suitcase for travel to Chile. Using components like Arduino made it easier to replace or repair things locally if needed.

What are best practices for designing immersive experiences in media art?

Robin Petterd: That idea of making something simpler—technically and conceptually—is really powerful. How did the piece begin?

Camila Colussi: Test, iterate, and stay flexible. With Tectonic Lingering, I had a vision, but many things changed in the making. Sensors don’t always behave as expected. Audiences don’t always interact the way you imagined.

You can resist that and force your original plan, or you can embrace what the piece is telling you. I think there’s a kind of communication between the artist and the work. It evolves. What doesn’t work isn’t failure—it’s part of the process. That openness to transformation is essential, especially when working with physical systems and materials that have a life of their own.