James Tejada's audio installation at the Chroma Art Film Festival by Rainbow Oasiiis and Superblue



Miami Native audio engineer and sound designer who experiments with immersive sound environments by utilizing de-coalesced audio sources


instagram: @jimmymctrilly


“WAVELENGTH” is an immersive audio experience utilizing a 360 degree audio system deployment in conjunction with 5 sequenced and programmed movements. Using various forms of synthesis and sampling each movement was created to produce a unique immersive listening environment and experience. The listener is encouraged to walk around the sound scape to explore the different interactions that take place throughout the movements.


“Ohm’s Law”

A play on the sound bath experience “Ohm’s Law” is an audio palette cleanser using simple oscillators to create a chant like energy to place the listener into a meditative state and help stimulate the visualization of geometric line patterns and waveforms via the interaction of the varying audio sources throughout the space. As the listener moves about the room and explores the environment these patterns change due to the interaction of different source groups in the space.

Oscillators , Filters

 Primary Focus Frequencies / Bandwidths 20Hz, 70Hz, 120Hz, 160Hz, 200Hz, 300Hz, 420Hz, 500Hz, 700Hz, 



Utilizing manipulation of white and pink noise this piece is meant to transport the listener to a barren wasteland. Bleak and eerie time gets caught in a swirling vortex of audio interweaving the past with the future. The sounds of the digital winds are meant to provoke introspection, reflection, and thoughts of what’s to come. 

White Noise , Pink Noise , Oscillators , Filters 

Primary Focus Frequencies / Bandwidths 20Hz-125Hz, 400Hz, 900Hz, 1.8KHz,     



Via synthesis and manipulation of samples the subject journeys into a world of copper , brass , and steel. Radiating vibrating waves of sonic energy clashes of cymbals and the bending of metal.

Sampled Media , Synthesis

Primary Focus Frequencies / Bandwidths 20Hz – 500Hz , 4KHz , 7000KHz



It’s not the heat. Frequency modulation thickens the air like a balmy moon lit night. Distortion glows like mist hanging over the city. 

FM Synthesis , Filters , Sampled Media

Primary Focus Frequencies / Bandwidths 60Hz, 213Hz, 



Have you ever heard a robot dream?

Sampled Media , Synthesis , Complex Waveforms

Primary Focus Frequencies / Bandwidths 80Hz-16KHz


Q: Can you tell us about your journey as a digital artist and what led you to explore this unique genre of art?

James: My journey as a digital artist began with a fascination for technology and its potential to transform the way we perceive and interact with art. I’ve always been intrigued by the idea of creating immersive experiences that transcend traditional mediums, and digital art provided the perfect canvas for that exploration.

Q: Your work often blurs the lines between technology and art. How do you see these two worlds intersecting, and what possibilities do they offer for creative expression?**

James: The intersection of technology and art opens up endless possibilities. It allows us to challenge the boundaries of what art can be and create experiences that engage the viewer on a profound level. Whether it’s immersive audio, virtual reality, or augmented reality, technology enhances the storytelling capabilities of art and takes the audience on a journey.

Q: Your art is unique in that it focuses on the auditory and sensory experience rather than visual. Can you elaborate on the importance of this approach and how it impacts the viewer’s perception of your work?**

James I believe that art should engage all our senses, not just our sight. By focusing on the auditory and sensory aspects, I aim to create a deeper connection between the viewer and the art. When you remove the visual element, it forces the audience to be present and truly immerse themselves in the experience, tapping into their inner senses and emotions.

Q: How has the digital era influenced the way you create and present your art?**

James: The digital era has been a game-changer for artists. It has given us the tools to reach a global audience and create art that can be experienced remotely. While we’ve lost the physicality of art in some sense, we’ve gained the ability to connect with people on a more personal level through digital experiences.

Q: Looking ahead, what’s next for you and your work? How do you envision the future of technology-driven art?**

James: I’m constantly looking ahead, keeping an eye on technological advancements and seeking ways to incorporate them into my work. I’m eager to collaborate with other artists, explore interdisciplinary projects, and experiment with various forms of media to push the boundaries of what’s possible. The future of technology-driven art is incredibly exciting, with vast potential to create unique and impactful experiences.

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