In 2021, I encountered the phenomenon of liminal space, which was later constructed in interdisciplinary works and I have been researching it ever since. Liminal spaces are thresholds or abandoned residential buildings, areas, corridors, hallways, underground pathways, shopping malls, office buildings, etc. Their initial purpose is to serve as a space crowded with people. The act of abandonment loses their initial desire. The individuals who visited such abandoned areas for the first time reported emotional and memory responses to the spaces themself. These responses are related to two terms.

The first is ‘Anemoia’ which indicates nostalgia or excitement of a time you have never known. The second ‘Kenopsia’ describes a particular psychophysiological response of an individual who interacted with the liminal space and experienced its atmosphere.

We could say that liminal spaces enable us to experience these phenomena. Liminal as a cross-disciplinary term is used widely within anthropology and folklore (e.g., initiation rituals), religion and spirituality (e.g., Ascension Day, reincarnation, etc.) and psychology (e.g., self-realisation and a state of mind within constructing and developing a personality). For instance, if we take a closer look at the theory of Arnold van Gennep, he invented the term ‘Liminality’ at the beginning of the 20th century.

The direct relation to the Latin word Līmen is comprehensive and indicates the threshold and passageway at the same time. Fascinated by the term, sense of fluidity and the anthropological theory behind it, I was inspired to write a cycle of works. Tonight you can encounter the ninth work from the cycle Līmen (which includes electroacoustic works with live video mapping, spatial installations, work for conventional acoustic instruments, large ensemble work, sound installation and even a symphonic orchestra piece). Līmen IX has three parts. The first movement ‘Preliminality’ includes metaphorical deviation of the present state and forms a minimalistic and repetitive sonic environment throughout the ‘glissando’ movement, spectral interpolation and spectral mutation between the acoustic instruments and electronics. The ‘Preliminality’ does evolve through a sequence of 16 different ‘chords.’ Still, it feels somehow static (i.e., from the harmony, sound and macro form point of view). The spatialised movements of electroacoustics throughout the sound allow it to come to life and to arouse. The second part of the  Līmen IX  is the ‘Liminality.’

The sense of sequential development comes along. The identity changes and transitions through a ‘destructive’ progression of the viable sounds of micro-processes (i.e., interferences and beatings with microtonal changes and a complexion of rhythmical cacophony). The macro form and the omnipresent frequency modulation enable further development. The rhythmical cacophony represents the aim and a threshold of the complexity. Moreover, the sonic environment of the second movement becomes fluid and transitions into the third part of the Līmen itself. The third movement ‘Postliminality’ becomes the conclusion that reflects ‘Liminality’ and takes over a new identity where the third type of complexity represents the trembling sensation and acoustical beatings within the quartet, tape and live electronics.