The conscious self sits in the driver's seat, hands on the wheel, in control, but the subconscious, the other passenger, is giving directions, whispering through intuition and impulse. When the buai (betel nut) hits the body, the road changes, visions sharpen, some pathways unfold, and new roads emerge nudging the subconscious forward, drifting in half high states witnessing mystery. There is no fixed geography; the terrain becomes once you allow the self to cross it, awakening the territories through the velocity of gliding speeds.

Buai 44:44 is a durational field recording drive that emerges from a paradox of motion loops in the highlands of Simbu in Papua New Guinea (PNG). A sensation felt and listened through a series of events unfolding in fluctuations and extreme unpredictability. Where a land's slowness imbues a mystery, doubling and waiting while improvisation becomes a maker of navigation, seeing and listening. The roads aren’t important, but movement is. The listener becomes the passenger carried by the loop rhythms, delaying listening to render what might happen in the future and moving back to move forward.

There is a subtle euphoria, a restless alertness. The self becomes both the driver and the passenger. Buai 44:44 acts less as a substance and more as a metaphor for crossing thresholds and letting drift guide the way. Sonic gestures that aren’t representations but are artefacts of transits, like passing headlights. At its core, the piece asks how the unheard becomes felt, how events, people, and processes with no explainable threads connect in strange ways. Where subtle euphorias of heightened awareness, rhythms of unresolved thoughts, and soft disorientations of sound states become a metaphorical accelerator of listening; where the subconscious becomes audible, not as meaning but as movement.