Khalil Alomar is an experimental interdisciplinary media artist whose practice explores sound as vibration, memory, witness, and relational force. Based on the unceded Coast Salish territories, he creates immersive sonic environments, tactile installations, and collaborative compositions that merge analog circuitry with digital frameworks, speculative storytelling, and more-than-human co-creation. His process often involves sculpting sound with Max/MSP, designing custom systems that respond to weight, touch, and movement through contact microphones, sensors, and circuitry. These responsive environments cultivate intimate, nonverbal relationships between body, object, and ecology, allowing sound to emerge as a language of care and attunement. Drawing from legacies of experimental sound and informed by decolonial, queer, and ecological thought, Alomar’s works are speculative terrains where alternate futures can be rehearsed, where slowness and listening become forms of resistance. Through installations, performances, and collaborative projects, Alomar constructs spaces that resist extractive modes of listening and invite entangled ways of being. His projects range from sonic sculptures that transform plants and everyday objects into resonant collaborators, to eco-futurist performances and terrarium-installations that reimagine the boundaries between artificial and natural systems. Whether building interactive soundscapes, co-leading research groups, or curating experimental festivals, Alomar treats sound as both political and poetic, a force that can challenge inherited systems while nurturing new forms of kinship and ecological care. Across his work, sound is never only aesthetic—it is speculative, relational, and transformative, offering a way to imagine just and livable futures in collaboration with human and more-thanhuman worlds.