In computer graphics, “raycasting” is the process of tracing the intersection of a virtual surface with an invisible “ray” emanating from a spaceless point within the virtual scene. In Julião Sarmento oeuvre, I constantly sense the shadow of this unseen seer, the eye or lens that possets its existence only through a sensual self-embodiment in the materials it traces. The duality of substance and form that brings to mind, for David Barro, comparisons to Pasolini’s shifting camera angle also evokes David Hume’s observation that we have no consistent, unbroken observation of the world. Our perceptual orifices provide an interrupted and inconsistent stream of information from which our perceptions of continuity are reconstructed. In raycaster, the unseen “ray” posits a playful means of bridging the phenomenological gap. I invite the performer and listener to engage in a willful act of self-deception, accepting the possibility of alternate self-realizations through microphones that serve as both substrate and perceptual prosthesis, through speakers that act both to reproduce and to actuate, and through a kind of autogenesis of physical material and monolithic noise into which we can project an alien embodiment.