The presentation will discuss the multi-phase artistic research project Resonant Atmospheres which interrogates the logics of biometric technologies by critically reconfiguring their apparatus through participatory site-responsive performance. Drawing from feminist technoscience, critical data studies, and participatory paradigms in artistic research, the project challenges the epistemic assumptions underpinning emotion recognition systems, foregrounding the socio-political and cultural situatedness of biometric data. Rather than decoding bodily signals into emotional categories, Resonant Atmospheres transduces biological signals into ambient audiovisual environments, cultivating collective affective conditions that exceed the semantic leap common in computation deduction. Framed as a methodology in itself, the project embraces affect as relational, contingent, and distributed—positioning biosensors not as instruments of truth-making, but as relational interfaces for co-construction of experience. Through public activations and dialogical engagement, the work reorients biometric sensing away from extraction and toward relational resonance, generating atmospheres in which the affective dimensions of complex experiences such as migration can be sensed without being represented on a narrative level. The contribution offers both a critique of dominant data regimes and a proposition for how affective technologies can be subverted toward aesthetic and collective reimagining.