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of mirrors built in and so completing each module, the high voltage light tubes create an imposing tridimensional, visual effect that multiplies the depth of the modules ad infinitum. The result is an illusive and hypnotic abyss that seems to want to swallow its audience. It is indeed rather interesting to realise that Pii actually is an audiovisual work although its pixels are not generated by a video signal. They are generated instead by an electronic support connected to an image system responding as a graphic equalizer to sound analysis. This means that different sound frequencies are first separated and then singularly assigned to a module of the sculpture that will render it into light. Without being a musical instrument, Pii manages to create an abstract and all-embracing sound effect with a noticeable, harmonious timbre based on granular synthesis that operates on audio samples composed by Kim Fasticks (aka Jorge Berges Sådaba), a musician from Zaragoza. Pii’s ever-mutating resonance is caused by the sound files being process in real time by its equalizer. But not only. Installed in the device are as well sixty motion sensors and a web of microphones functioning as its eyes and ears. Pii can therefore capture its surroundings and audience and somehow communicate. This is actually how the variables modulating Pii’s sound and light are generated. From an audiovisual perspective, Pii does interact independently