Twenty-four hypersensitive condenser and contact microphones, twelve strategically placed speakers, one Mac mini, six needle-felted wool sculptures, a carpet of weathered pebbles, and two fuzzy outsize sound blankets. At Jacqueline Kiyomi Gork’s recent solo exhibition “Olistostrome,” the stage was set. The only missing element? Its protagonist: the viewer.

The orchestration of sonic space undergirds the practice of Kiyomi Gork, whose background includes studies in computer music and archaeo-acoustics and a stint in the San Francisco noise-music scene. Created in the mode of La Monte Young and