Audius

My current research bridges science, art, and grief, grounded in the following proposition: The body is an epistemic system, constantly updating its model of the world through sensation, perception, action, and recursion. It is both highly situated and fundamentally inferential. What I call “embodied epistemic inference” draws on contemporary cognitive science, predictive processing, active inference, and affective neuroscience, where Bayesian updating provides the mechanism through which prediction errors are integrated. These fields redefine cognition as a dynamic inference process distributed across body, environment, and experience. In my artistic practice, sound, body, language, mechanical structures, and spatial architectures function as mechanisms of inference, systems that can be shifted, collapsed, reorganized, and transformed, making grief understood as a reconfiguration after the failure of a model, both perceptible and enactable. This process situates the enactor within the system itself, creating multiple layers and dimensions that resonate with principles of second order cybernetics. This approach explores how humans learn, infer, and reorganize meaning in the aftermath of loss. It is also informed by non-Western thought, particularly the writings of Zhuangzi, whose reflections on embodied knowing already anticipated aspects of contemporary cognitive science and phenomenology, though in a far more poetic and metaphorical way. Through an artistic lens, my work seeks the emergence of the space between systemic logic and lived, somatic experience — a practice of continuously rewriting world models through situated sonic inference, embodied belief updating, and spatial enactment, as we wander through loss.