Miyu Hosoi’s STAIN unfolds as a haunting meditation on communication, memory, and the lingering traces of presence. Taking the form of an extended sound installation, the work captures the residue of intimate conversations, yet all speech has been stripped away. What remains is a delicate acoustic trace: ambient noise, the rustle of movement, the quiet moments between words. These aural remnants evoke what was once spoken, highlighting not what is said but what is felt. Installed through a minimal setup of speakers and devices, STAIN invites the audience into a charged silence, one shaped by emotional proximity and absence. The orientation of speakers in its installation suggests different types of gaze—an observer reflecting on a lost moment, or someone listening in on a ghostly dialogue. The title itself speaks to what lingers: a mark left behind, a signal of emotional contact that resists full erasure. In filtering out the human voice, Hosoi asks the listener to attune to subtler frequencies of communication, the breath between sentences, the atmosphere of a shared space. Quiet yet resonant, STAIN renders silence itself as a medium for connection. In linguistics, prosody is the study of elements of speech, including intonation, stress, rhythm and loudness, that occur simultaneously with individual phonetic segments. Prosody reflects the nuanced emotional features of the speaker or of their utterances: their obvious or underlying emotional state, the form of utterance. STAIN becomes a prosody of silence. It is a deeply intimate sound work that turns absence into presence.