Sat 09

The Glasgow underground is a simple circular, concentric route travelling in both directions. The Inner Circle or the Outer Circle are the only choices - and if you plumped for the wrong one it takes only 24 minutes to do a complete circuit. Although at times incredibly noisy (you sometimes leave the train feeling mildly traumatised by the sound) the subway is undeniably one of Glasgow’s best-known and most familiar soundmarks. A Loop Within a Loop re-imagines the sounds of the subway network in an exploration of circularity, repetition and looped systems. Featuring field recordings made on the underground and interviews with former train drivers - voices and sounds, loop and repeat, come and go, ebb and flow - evoking the sensations of the subway - the rhythms, sounds and smells, the motion of the train, the grinding repetition experienced by the drivers, the impenetrable darkness and the light at the end of the tunnel.

Artist bio:
Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.
 
http://meagreresource.com

"Viatge cap al buit" (Journey to the Void) offers the listener a slow and transformative excursion through a series of landscapes where the real blends with the surreal and the impossible. The journey begins in darkness, with a screen of noise that evokes the sound of a plane landing, gradually transforming into water. A succession of environments follows, sometimes diurnal, sometimes nocturnal, where sounds detach from the landscape and embark on their own journey, ever-changing. The void refers to the intangible, the non-material that exists beyond our world. Through sound processing, this unreal otherworldly realm comes into contact with ours; the different elements that make up the scene wander between their boundaries: we hear supernatural echoes from the other side, and as they approach us, we discover a person walking. They sit down. The image they contemplate evaporates...

Artist bio:
Francesc Llompart's initial production is instrumental, but gradually he delves into electroacoustic music for acousmonium and mixed music. Subsequently, he explores free improvisation as a violinist and collaborates with other improvisers, combining composition with elements of conducted improvisation, indeterminacy, and graphic scores. His music has been programmed at festivals around the world such as "Mixtur" (Barcelona), "New York City Electroacoustic Music Festival" (New York), "OUA Electroacoustic Music Festival" (Osaka), "MUSLAB" (Mexico), and "Klangraum Festival" (Stuttgart).

Website/social links
http://www.francescllompart.com

Shorts Comp 35

1) Jesse Lou Lawson - How to Look 30 When You Are 30 (11:22)
2) katarina kadijević - The room was fulfilled with nothing (15:00)
3) Shaun Robert - Ça pic un peut quand meme (15:00)
4) Chin Ting - Resonant Collision (17:00)

 
1) Jesse Lou Lawson - How to Look 30 When You Are 30

I found a pamphlet of advice for trans masculine people published in 1985 by Lou Sullivan. It had a section called How to Look 30 When You Are 30: about how people often mistake 30 year old trans mascs for 14 year old boys, and what to do about it. So I followed all of Lou’s instructions. This is a piece about the beautiful and enduring mutual aid of trans communities, and reclaiming our history in the context of a moral panic that presents transness as a new and threatening phenomenon. It features Fen Williams, Susan Stryker and Tuck Woodstock.

Jesse Lawson is a multi award winning freelance audio producer, sound designer, and community facilitator. Their work so far has explored themes including queerness, the prison industrial complex, and narratives that are historically excluded. Two projects they're very proud of are Because the Boss Belongs to Us, and Fear of Missing Out. More info and contact information: jesselawson.me.
jesselawson.me
Twitter: @JesseLRadio
Instagram: @jesseloulawson

 
2) katarina kadijević - The room was fulfilled with nothing

Sound system of politic(s)

The room was fulfilled with nothing
And the nothing was the everything

Every day I check in
that my foots carry me
floods
check in and check out
in my hand i carry plastic bag
in which are three croissants of chosen Earthly delights.

And I open my hands and become nothing

(work in progress, linked to the ongoing exploration on Self–composting strategies)

Polyphonic structures. Extremities. Process within process, landscape undertones. katarina kadijević, id-entity work in progress, is a temporary hybrid state, which likes to seek and look in- into-at different kinds of communication mechanisms, ways, possibilities, connections with the space, place, plants, animals, objects, human. Inhabiting my body, I communicate through movement, voice, poetry, listening to spaces and communicating with them. Silence is a dear friend and compass which guides me. Currently studying at Institute of Sonology, explores the realms of sound, vibration and transmission.
https://www.instagram.com/postintrotwone/
https://olpuas.bandcamp.com
https://soundcloud.com/eyel-aibrthngngh

 
3) Shaun Robert - Ça pic un peut quand meme

A burn't hauntology wrought from a synthesis of existential plain vox recordings , pulled absurdly into relationships dialed ; top form lopsided in strange grandeur . Soundscape of limbo walking haze in the shopping centred ; closed at night ; and mannequin smiles

Shaun Robert (1966 - ) Starting like many with a domestic tape recorder ; years finger poised on the pause button ; tunnelling into the present & falling into deep concentration ; in a trance of coloured sound trials ; impromptu expressions processed & filtered into moments of congealed sound ; also using field recording , in voxpop & audio voyeurism , of hauntological stylings , Cross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic. A mix of forms in an expanding wave , nudging & slating whim , composition dealt in reality , a truth of intimate confessional & intruding a microphone , the tension of triggered sounds to ape pictures of life & spoken word & singing. Falling apart to come together ; feeling the next transition is about to happen , tape phasing sound on sound ; skimming back to make collusion edits ; building deep relationships with that aesthetic ; this interaction shows itself in within all his works . And the importance of sounds from analogue radio , magnetic tape manipulation can not be understated.
https://shaunrobert.bandcamp.com

 
4) Chin Ting - Resonant Collision

Everything in the universe oscillates in predictable or unpredictable patterns. When things come in proximity, they collide, but after a while, they begin to synchronize and resonate at similar frequencies. The collisions of different sound materials are used as a metaphor for our intricate interaction and relationship with nature as well as other living beings. It reminds us to focus on what we have in common rather than how we differ, to facilitate connections rather than conflicts. We all share the same world that we ought to preserve, where we should strive to connect spiritually with those who live in it.

Composer Patrick Chin Ting CHAN grew up in Hong Kong and came to the United States in 2003. He has been featured in events including Ars Electronica, IRCAM's ManiFeste, ISCM World Music Days, UNESCO International Rostrum of Composers, and Venice Art Biennale, among others. He has worked with ensembles such as City Chamber Orchestra of Hong Kong, Ensemble intercontemporain (France), Ensemble Metamorphosis (Serbia), eighth blackbird (U.S.), Hong Kong New Music Ensemble, Mivos Quartet (U.S.), and New York New Music Ensemble, with performances in more than thirty countries. His scores are published through BabelScores and Universal Edition.
http://www.chintingchan.com

Buchla Easel, 2x Revox A77, E.H. 45000. Persistent gono despite weeks of abstinence.

Artist bio:
LIBRAMAR is Association Head of Dronau Canal - non nepotistic collaborative exploration space in Vienna, Austria. New Reisebüro. Roy F. Culbertson III and Lucas Henao Serna.

Website/social links
https://www.instagram.com/dronau_canal/

From Lost to the River explores the ways in which the relationship between humans and other bodies of water that has been lost in the city of Târgu Mureș/Marosvásárhely, especially around the Mures/Maros river.

In the piece, layers of history are interwoven, and it remains a real question whose story we are witnessing: water is present in all its grandeur, in its alienness as a force of nature, and at the same time as an agent present within/among us that nourishes and supports direct human relationships or community and allows deep understandings.

The non-linear narrative of the piece creates a highly experiential space in which listeners can simultaneously discover traces of their own history and the all-pervasive presence of water by calling on time-traveling water and electromagnetic waves.


Artist bio:
Isabel Val (Barcelona, 1988) is an artist working across mediums with a special interest in sound, image and text. She researches nostalgia, grief and the invisible connections between past and present.
In her work, human experiences are transfused, opening up a multidimensional space that tingles with emotion and experience, interweaving us unobtrusively, opening up connections between humans, communities, knowledge and the other-than-human.


Link to download audio/images:
https://we.tl/t-wCOj8RrMww

Website/social links
https://www.isabelval.com/
https://www.instagram.com/isabel_val/

The piece "Klangglomerat" (german for "sound glomerate") by auvikogue (Peter Schubert and Andreas Usenbenz) was created as part of the cultural autumn event in the city of Geislingen an der Steige, centered around the theme "Geislingen's Underworlds." The artists collected field recordings from locations such as caves, abandoned mine tunnels, and vaulted cellars, interacted with the material on site or intervented the places bringing double bass, cymbals and singing bowls to the underground. all those sounds had been transformed into a dense sound collage which had been presented in complete darkness as a 6-channel-audio performance, creating an immersive sound experience where all the sounds circled around the audience. It will also be presented as a 6-channel-concert in a church during lab30 media art festival in Augsburg in the end of October 2024. The download link leads to the stereo mixdown of our work suitable for radio transmissions.

Artist bio:
auvikogue questions, listens, researches, drifts, absorbs, destroys, rearranges, moves, changes, bothers and stays, unadapted.

auvikogue, the alter ego of peter schubert, is working in the field of sound art, field recording, mail art, experimental music, performance and installation since 1999. meanwhile auvikogue has grown to a kind of art collective and performances under that project with various artists from the audio or visual scene had been played. permanent member since 2021 is andreas usenbenz.

auvikogue is located in the south of germany.

Website/social links
https://auvikogue.org
https://auvikogue.bandcamp.com
https://www.instagram.com/auvikogue/

The album "In The Name of the MOON" began when I imagined an ever-changing but static field of harmonies and pulses, intertwined with each other, and surrounding listeners like a galaxy of sounds. "Sparkling wide pressure" is the name of one of Sailor Jupiter's attacks. Sailor Jupiter, of course, is a character from the classic anime series "Sailor Moon." As I created this piece, I made some personal associations between the sounds I was crafting and the gestures and images I remembered from the TV show. Each of these "ambient character portraits" is full of shifting, intricate patterns of interwoven sounds. Yet each piece is balanced in content, maintaining equilibrium like bodies in the solar system.
https://kerrithlivengood.bandcamp.com/album/in-the-name-of-the-moon

Artist bio:
Composer Kerrith Livengood’s works have been performed at the SEAMUS Conference, KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, and Alia Musica Pittsburgh’s Conductors Festival. She has written works for the JACK Quartet, Third Angle Ensemble, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, and the h2 Quartet. Her music features controlled randomness, lyricism, noise, and humor. She is also a flutist, drummer, technologist, and improviser.

Website/social links
http://kerrithlivengood.com
Instagram: kerrithl

By editing 20 years of oral memoirs of people collected in the valleys of Trentino, I “embroidered” a synchronized discourse of memories, views on life, affections, individual and collective stories. To be listened to together while weaving one's own story.

Artist bio:
I am a professional multimedia artist with 20 years of experience in sound and video art, project management, education, and cultural community initiatives.

Website/social links
https://www.saramaino.it
https://www.flickr.com/photos/saramaino/albums/72177720320156327

An iteration of a text score composed by Debbie Armour, from a collection of works to be performed domestically.
(Originally broadcast April 2024 for MOOAR Residency, Resonance FM)

Find a quiet time. 30 - 60 mins should be enough, but be open to change
Sit on the floor together
Arrange a quiet activity for the under-5
The Singer begins to sing, something familiar
Stop each time you are interrupted by the under-5
Respond gently to each interruption, re-engage the under-5 with their activity or allow them to join in if they indicate they would like to
Recommence your song where you left off
Keep going for as long as you can

Repeat the score on a few different occasions
Notice any changes in responses from the under-5 during each iteration
Note how many songs you can complete, if any
Notice how it feels to be interrupted, for each of you

Artist bio:
I am a traditional singer and artist working with sound and performance. I am motivated by persistence, resonance, deep cultural roots and celebrating traditional materials. My practice sparks interest in shared heritage through world building, and recontextualising song, story and archetype.

Website/social links
http://www.burdellen.com
http://www.debbiearmour.substack.com
http://www.instagram.com/debbie.armour.sound
http://www.instagram.com/burdellenmusic

1) Jeff Gburek - In Praise of the Shambolic (5:33) 2) Dariusz Mazurowski - Metropolis Balticum / Part 3 Industry (10:36) 3) Jess Hamilton - Dark Crystals (2:02) 4) Vincent Eoppolo - The Life Ascetic (3:27) 5) Jorge Ramos - Project 2 (5:52)   1) Jeff Gburek - In Praise of the Shambolic This is a segment of an in progress work of percussion based resampled manipulations. All attempts were first made to create orderly rhythms then submitted  them to the discipline of deregulation. Sham for shamanism. Olic from symbolic. Praise from rays. Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions.Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux.Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acousticsof Gaian whispers enveloping and composing existence. http://soundcloud.com/jeff-gburek https://jeffgburekprojects.bandcamp.com/   2) Dariusz Mazurowski - Metropolis Balticum / Part 3 Industry The piece "Industry" is the third part of the extensive composition "Metropolis Balticum (Urbana Landscape)", a soundscape of Gdansk, my hometown. It was entirely created from field recordings that I made within the urban space, visiting various locations and searching for intriguing events with musical qualities. During the field recordings I visited many places – both those well-known and frequently visited by tourists, and many that even the citizens themselves often know little about. This piece consists of multiple phrases layered on top of each other, creating a sonic tapestry. The sounds of the city, bustling streets, industrial noises, the sea's roar, and the hubbub of human activity all become phrases contributing to this uniquely musical whole. This project was undertaken as part of the Cultural Grant of the City of Gdańsk, awarded in 2023. Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs. https://deemstudio.com/ https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/ https://www.youtube.com/user/DeeMstudio/videos https://open.spotify.com/search/Dariusz%20Mazurowski 3) Jess Hamilton - Dark Crystals This piece is part of a collaborative project with visual artists Sammy Hawker and Sam Tonkin. In her piece 'Dark Crystals', Sammy processed a photograph of Mollymook beach on Yuin Country (a place that holds personal significance to me) using salt water from the ocean at the site. In what she feels is an act of co-creation, the salt fractures and crystalises the image, almost completely obscuring the landscape beneath. The composition was created using data from the barely visible horizon line in this work, transposed through spectrograms into sound. It was played through chladni plates created by Sam Tonkin, creating a kinetic and sonic loop of communication with the photographic recording of place, during Sammy's solo show SALT. Gratitude and respect to the Yuin, Gadigal, Ngnunnawal and Ngambri custodians on whose land and sea country we live and work. Jess Hamilton is an audio producer and field recordist living on Gadigal land, Eora (Sydney). Her work explores memory, temporality and the hidden sounds of ecosystems through hydrophones and electromagnetic recorders, layered field recordings and found sound. Through a practice of listening, recording and manipulating sound, she attempts to make audible the anthropogenic influences of our time on ecosystems and soundscapes - particularly those that seem obscured from human senses. Her audio storytelling projects have featured at IFC AudioDocs Reykjavik, Rose D’Or and the Australian Podcast Awards. She is currently studying soundscape ecology through a Master of Marine Science. https://soundcloud.com/jessicajhamilton/sets/isafjordur-etc https://jessica-hamilton.com/ @mahssej Sammy Hawker: @sammyhawker https://sammyhawker.com/ 4) Vincent Eoppolo - The Life Ascetic Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world. Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America https://www.facebook.com/profile.php?id=100007788824642 https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw https://soundcloud.com/vincent-eoppolo 5) Jorge Ramos - Project 2 It all started with 2 frequencies shocking, and like almost everything, with time comes development and evolution. Fr

6) andre birken  - 31 monstrous demonstrations - EINER VON IHNEN (7:19)
7) Pablo Paniagua  - Territorial Reminiscences: Buenos Aires Soundscapes and Biosonification at the Manzana de las Luces (19:35)
8) Simon Whetham – Channelling tk 5 (4:50)
 
 
6) andre birken  - 31 monstrous demonstrations - EINER VON IHNEN

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken


7) Pablo Paniagua  - Territorial Reminiscences: Buenos Aires Soundscapes and Biosonification at the Manzana de las Luces

This proposal is part of the graphic art exhibition “Every Landscape is Cultural: Graphic Expressions of the Territory” (2024) by Facundo Medina Carabajal and María Belén Corso. I have designed a performance where real-time processing of soundscape recordings from various locations in the Province of Buenos Aires is interwoven with the sounds generated by a plant located in the Manzana de las Luces, connected to a biosonifier. This high-tech device converts the plant’s bioelectrical signals into sound, integrating the natural vibrations of the plant into the sonic composition. The sounds sourced from diverse natural environments will merge with the tones produced by the biosonifier, creating a symphony in constant evolution that will interact with both the exhibition and the historic space where the performance takes place. This proposal is one of the "poetic dialogues" featured in Facundo and María Belén's exhibition, along with contributions from Marcela Villagrán and Pola Gómez.

I am an artist and educator from Chubut, currently based in Buenos Aires, with a Master’s degree in Combined Artistic Languages. Since 2014, I have participated in national and international artistic events and received awards and grants. My recent work explores visual, auditory, and corporeal elements in specific contexts. As an educator, I teach at various levels of formal and informal education and conduct workshops in both public and private spaces.
https://pablopaniagua.com.ar/
https://www.instagram.com/pablopaniagua87/

 
8) Simon Whetham – Channelling tk 5

Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.
The project was developed through 2021and 2022 by support from Ferme-Asile (CH), Witte Rook (NL), AiR Niederösterreich (AT), HEAR and Espaces Sonore (FR) and Château Éphémère (FR).

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/

Climatic Voices is a sound art observation of meteorological themes. It is a sound collage made using treated environmental recordings, radiophonic transmissions, infrasound and electromagnetic frequencies.  These types of sound waves are obtained from the atmosphere that surrounds our planet.

The use of atmospheric acoustics plays an important function within modern meteorology and is used to predict weather patterns and other meteorological phenomena. This helps with many things including improving weather forecasting, aiding climate change studies as well as safeguarding lives and property.

Artist bio:
Jimmy Peggie is an artist based in Phoenix, AZ who uses sound and image in his creative practice. His artistic work is focused on natural and man made environments.

He has been participated and recorded 40+ sound related albums.  He has had work featured at art exhibits, installations and festivals around the world.  He records and presents a monthly sound art show on Camp Radio (France).

Website/social links
website - http://www.jimmypeggie.com
social media - @avantologist

Neolithic Cannibals is a socially engaged sound art project and exhibition from the young people of Whitehawk and East Brighton, and artist Simon James, who was born and raised in Whitehawk. As part of the Class Divide campaign for fairer education, the project confronted issues of stigma and what it means when we listen to the unheard and invisible. Textures, shapes and patterns derived from archaeological materials place the Neolithic Cannibals soundscape deeply within the heritage and history of Whitehawk in Brighton. The listening spans thousands of years, from Neolithic Flint Knapping to the early 20th century geophysical techniques used to discover Whitehawk Camp, and now the young artists from Whitehawk creating a contemporary artefact using the sounds of their environment. Communities connecting across thousands of years through listening.

Artist bio:
The artists are a group of young people from Whitehawk in East Brighton, uninhibited by experience or knowledge and any preconceived ideas of what sound art should be. They bring an instinctive, playful and raw energy; turning sounds inside out, carving new shapes, oscillations and resonances. Supporting them is Simon James, a self trained sound artist and composer engaging in deep listening to the unheard and hidden - mixing environmental field recordings with electronic and electroacoustic sources.

Website/social links
http://www.simonsound.co.uk

1 Awadh Baryoum - From the Fruits of a Suspended Ode (1:17)
2 Pablo Paniagua - The States of Water - Chubut River (14:31)
3 Ben Gaunt - Air Arc Air (4:00)
4 Alistair Zaldua - the sea bass (6:24)
 
 
1) Awadh Baryoum - From the Fruits of a Suspended Ode

This project represents the culmination of my experimental studio practice, where I seek to bridge my passions for language and painting. By juxtaposing texts and paintings, I explore the interactions between these mediums, creating non-linear narratives that are deeply personal. At the heart of this work is the South Arabian alphabet, also known as al-Musnad, which dates back to the 9th century BCE and is distinct from modern Arabic script. I have revived this ancient writing system, adapting it to the Arabic language by introducing new vowel characters. This led to the creation of a custom typeface that facilitates the digital production of Arabic texts using the South Arabian script. Beyond its linguistic innovations, this project examines the relationship between word and image, challenging traditional artistic boundaries.

Awadh Baryoum, an Ethiopian-born Canadian artist, was raised and educated through university in Aden, Yemen. He holds an MFA from the Savannah College of Art and Design in the United States. Baryoum is a recipient of a Fulbright scholarship and a research grant from the Canada Council for the Arts. His works have been widely exhibited in the United States.
https://www.instagram.com/a.baryoum.art/

 
2) Pablo Paniagua - The States of Water - Chubut River

This piece explores the territorial tension caused by megamining and its environmental impact. From a posthumanist perspective, it challenges the anthropocentric view by using sounds captured from the Chubut River, combined with improvisations on an oscillator, a homemade monochord bass, and audio processing. The work aims to reflect on our activities' impact on aquatic ecosystems and encourages rethinking our relationship with nature as a dynamic system rather than just a resource. It was selected for the Chicharra Festival 2023 in Spain, presented in a 14-channel format for an immersive experience.

I am an artist and educator from Chubut, currently based in Buenos Aires, with a Master’s degree in Combined Artistic Languages. Since 2014, I have participated in national and international artistic events and received awards and grants. My recent work explores visual, auditory, and corporeal elements in specific contexts. As an educator, I teach at various levels of formal and informal education and conduct workshops in both public and private spaces.
https://pablopaniagua.com.ar
https://www.instagram.com/pablopaniagua87/

 
3) Ben Gaunt - Air Arc Air

This piece was composed in response to the work "Walking in Air in Glasgow" by Emmanuelle Waeckerlé and Will Montgomery, part of the RMA Music and/as Process Conference: Environment, Space & Place (28th - 30th June 2024, University of Glasgow).

After being provided with provocations/guidelines on how to "walk in air", participants went for a stroll, and then were invited to "take some time to reflect upon our experience and gather our traces (words, images, recordings...)"

This composition is my trace. I respond not only to the prompt above but also to the conference as a whole. I recorded air sounds within and outside the Advanced Research Centre (ARC), both naturally occurring and artificially created (e.g. air conditioning units).

Ben Gaunt is a composer, sonic artist, and improviser. He has written for the London Symphony Orchestra, London Sinfonietta, Grimethorpe Colliery Band, and many other lovely people. He has been nominated for an Ivor Novello Award, a British Composer Award, and is Professor in Composition at Leeds Conservatoire.
https://www.bengaunt.com/
https://x.com/bencomposer
https://www.bengaunt.com/epk-sonic-artist-and-composer

 
4) Alistair Zaldua, Lauren Redhead & FLOW Duo - the sea bass

These recordings bring together disparate musical energies in response to three texts created by Lauren Redhead. The performers are Stephen Altoft (19-tone trumpet and flugelhorn), Alistair Zaldua (e-violin), and Johannes Nied (contrabass). Recorded in August 2024 at the Experimental Studio (SWR) in Freiburg, they comprise improvised responses to the experimental writing. In each piece, the text was first read aloud and then the response recorded. The titles are: ‘the sea bass’, ‘prompts for analysis’, and ‘hearing protection’. The texts were made via Oulipo inspired processes and reflect the range of sources from which they are drawn: a recipe database, a guide to graphic notation, and a reflection on the 1980s geography of Manchester. The result is a confluence of ideas, sounds, tuning systems, and extra musical meanings.

Lauren Redhead is an organist, a composer of experimental music, and a musicologist who writes about the socio-semiotics of contemporary musics.
Alistair Zaldua is a composer, conductor, violinist and improviser. Both Alistair and Lauren are based in Manchester, UK.
FLOW Duo is Stephen Altoft (trumpet, flugelhorn) and Johannes Nied (contrabass) and has existed since summer, 2021 solely as an improvisation duo, and is based in Freiburg, Germany.

Lauren Redhead website: https://laurenredhead.eu/about
Alistair Zaldua website: http://www.alistair-zaldua.de
Stephen Altoft website: https://www.stephenaltoft.com
Johannes Nied: https://cnz.ch/johannes-nied

5 James William Lansdowne - Streaming Music (15:59)
6 Hans Kadensia - _L00P_ (7:14)
7 Una Walker  - I, a solitary drama (1:00)
8 Radio Noise Duo - Run Time Errors (8:17)
 
 
5) James William Lansdowne - Streaming Music

the piece takes the form of a Stream but with individual, identifiable tracks (with field recordings made across Britain), beginning with a thunderstorm in London; an electrical point of focussed energy,ending as a continual process of re-energisation through synchrony, embedded intelligence, and the ultimate fact that everything changes.

With works spanning from internet anti-pop to pure sonic art, he balances light and dark, minimalism and maximalism, loud and quiet, in a way which echoes through time.
https://open.spotify.com/artist/0OoxvLuwVsh4Km7iwuKgO8?si=DwNfDG0HQe2fcvAcsX7bNA

 
6) Hans Kadensia - _L00P_

_L00P_ is a composition for cello and tape, featuring my recordings of sounds such as crickets and waves. This piece aims to offer a new perspective on how we hear and engage with the sounds of nature. In this work, I seek to confer a powerful dimension and sovereignty to my samples, making them independent within the composition. In this way, nature violently reclaims its rights, asserting itself in the sonic space. The cello interacts in a duet with the tape throughout the piece, imitating the most organic textures possible. Through this work, I aim to denounce and expose current environmental issues, inviting the listener to reflect on our relationship with nature.

Hans Kadensia (Olessia DUPUY) is a 20-year-old French cellist, improviser, and electroacoustic composer. Her work blends the cello with environmental samples, which are reworked and used to create tape. In her pieces, the cello takes a central role, transformed in real-time with effects and interacting with the tape. She aims to fuse technology and music, allowing them to evolve together. Olessia's classical training is fundamental to her artistic approach. She began her studies at the Lyon Conservatory and performed with the Youth Orchestra of the Orchestre National de Lyon under Victor Jacob while exploring solo improvisation on stage.
https://www.instagram.com/hans.kadensia/

 
7) Una Walker  - I, a solitary drama

A solitary walk in the forest, the crunch of gravel underfoot, bird song, incessant cawing of crows, and an internal monologue, searching for self.

Una Walker is an artist and writer based at Flax Art Studios, Belfast and has exhibited extensively in Ireland and internationally, making site and context specific installation and audio and video works. Site specific installation works have been constructed in diverse locations including military fortifications in Ireland, Scotland and Finland, a derelict factory in Poland, and  cathedral in Wales. During the Covid lockdowns she became acutely aware of the immediate surroundings of her home in County Down, and started making audio field recordings. A series of audio and video works followed including I, a solitary drama.
http://www.unawalker.com
@utwalker00

 
8) Radio Noise Duo - Run Time Errors

The piece uses Software-Defined Radio architecture, which processes the sounds of tabla and electronic devices. Such an operation preserves the charecteristics of percussion sounds while generating digital errors. These in turn become the canvass for, created live, musical structure. Consequently, the radio space influences the sound of the whole. The radio becomes a kind of musical instrument.

Tomasz Misiak and Marcin Olejniczak (Radio Noise Duo) from Poland  - looking for inspiration in electricity, radio noise and amplified everyday objects. Earlier the musicians were associated with groups like kalEka (Misiak) or Monopium (Olejniczak), but they also had some solo projects. Radio Noise Duo is a part of Radio Noise Orchestra- still continuing initiative focused on radio noise in various artistic activities.
https://www.facebook.com/AntennaNonGrata
https://antennanongrata.bandcamp.com/

When you watch a particle it acts like a particle. But when you look away, it does a whole other thing. This story explores modes of experiencing the strange quantum basis of an everyday life. It journeys through split déja-vu, Schrödinger’s hamster and the clouds of possibilities that are hiding just beyond our reach.   
 
Credits: Produced by Anne Jeppesen, under the mentorship of Cristal Duhaime. Produced as part of the YASS! mentorship programme. 
 
YASS! You are so sound! is a one-to-one mentorship program for emerging or experienced authors and audio artists of any age. https://www.luciafestival.org/en/yass-mentorship-program-2324/  
 
Bio: Anne Jeppesen is a Copenhagen-based creator with a focus on immersive experiences for radio, museums and XR media. She co-directed the VR-film A Vocal Landscape that premiered in Venice Immersive in 2023 and won three awards, one of them being Best Theater in Show at Siggraph Asia 2024 in Tokyo. Anne’s main arena is working with the plasticity of the audio space and she’s is always seeking out new ways of combining the cosmic vastness with micro details from our every day world.
 
 https://superposition.dk/  
https://www.luciafestival.org/en/evento/reality-looks-back-2/

Field recordings, interviews, legends, poems, an astral map of the island, underwater sounds and vibrant surfaces are mixed with musical elements to compose Entremarés, a sound piece to be heard at sea, more specifically in the pedal boats of José Bonifácio Beach, on Paquetá Island, in Rio de Janeiro, Brazil.
Piece commissioned by the Novas Frequências Festival, 2021.

Artist bio:
Argentinean sound artist settled in the countryside of Rio de Janeiro, Brazil.
Her artistic work is based on the use of field recordings and navigates between soundscape and experimental electroacoustic and concrete music, focusing on listening and sound imagination.
Since 2019, she has released solo works on the labels Impulsive Habitat, Música Insólita, Pakapi Records and Sello Postal.
She has also released the collaborative works ‘Slani pejzaži’(tsss tapes), with Manja Ristić and Joana Guerra, ‘In-Radius’ (Presses Précaires) with Pablo Díaz, and “Fase de Plegamiento’ (Green Field Recordings) with Juan José Calarco.

Website/social links
https://linktr.ee/veronica_cerrotta
https://veronicadaniela.bandcamp.com/
https://soundcloud.com/veronicadanielacerrotta
https://www.instagram.com/veronica_cerrotta/

This audiopaper is about a concept I developed called Overflowing Lines, and from it, I begin to think about the human relationship with nature from the perspective of art and my indigenous origin, as well as the indigenous cosmoviews of Brazil, my country. I have been developing sonic pieces that draw such relationships: human and trans-humans forms of interactions and the disposition of my own body and voice to activate them and be a channel for transmitting nature-devenirs, in dialog with the concept of Deleuze and Guattari.

Artist bio:
I am sound and visual composer, weaver - I make hand-knit pieces - and experimental artist. ​
I compose sonic/sound and visual books, sonic and visual tales, stories and imaginations; I research the practice of experimental cinema and the survival of images, their presence, appearances, persistence, their generational transmissions, their movement in the fabric of time-space and beyond. ​
I was born and raised in Jequié-Maracás, in Bahia. My family comes from the countryside region of the city Maracás, with Kiriri-Tupinambá peoples origin. I currently live and work in São Paulo Capital City and I'm studying Fine Arts at USP-University

Website/social links
https://www.tassiamila.com/
https://www.instagram.com/tassia_mila/
https://soundcloud.com/gatopretopulando

‘Activities for Listening’ is an experiment in listening. A mysterious nonhuman entity wants to teach us how to hear their name, which lies outside of ordinary hearing thresholds for most humans. Our narrator tries to teach us how to listen otherwise, guiding us through different ways of listening to extend our regular human sensing abilities. We listen into the sonic worlds of bats, the upper atmosphere, and the micro-vibrating honeycombs of a beehive. Music by Kevin Chow Mixed and mastered by by Johan Östman Image by Tal Chodos Artist bio: Siobhan Leddy is a researcher, writer and artist based between Berlin, Brno, and the forests of rural Sweden. In her posthuman practice, she is drawn to aesthetic or sensuous processes for creating meaning, such as art, sound, song and food. Website/social links siobhanleddy.com https://www.instagram.com/shivshivshiv___/

In Dredging Echoes (Watersilver) aspects of stealth, scavenging, (counter)surveillance and the commons are intertwined through an exploration of the hobbies of two individuals, a Zombie Satellite Tracker and a Magnet Fisher. The piece uses the echo as both concept and effect to explore fields and forces invisible to the human eye. Bringing to light covert activities, hidden pathways and the delicate line between physics and magic. Composed with custom built musical instruments that harness the power of magnetic fields and weaving through investigations into bat echolocations, underwater field recordings, electromagnetic phenomena and the sun-earth connection. The work was made because radio is magic, to pay homage to the obsessions of amateurs and hobbyists and to embodied knowledge that sits outside language.  Insta: @bexsik

1) Diana Duta - death watch beetle (8:08)
2) Mark Griffiths - We will forget their songs (6:23)
3) Petri Kuljuntausta - The Big Reveal (In C) (10:35)
4) Craig Stewart Johnson - Passages and Combinations (15:00)
 
 
1) Diana Duta - death watch beetle

An invitation to embody a yew tree through tuning into its particular aural experience – populated with sounds of dragonflies, beetles, slugs, dust, crows and other creatures from its immediate environment. The piece was commissioned for ‘Whisperings of the taxus trees’ - a research initiated by Karolien Polenus exploring the history, energetic power, and properties of the Taxus tree. The project aims to highlight the importance of nature in the urban landscape and to remember that we are all nature, and that we connect with her at any time.

Diana Duta is an artist working with sound in hypnotic ways, with a background in art and socio-cultural linguistics. Her work focuses on concepts of mimesis and reiteration within the linguistic and the natural worlds, our relationship to the non-human and acts of listening. Her solo project DIAN makes things disappear with words, while performing an oracular striptease in the dark. She is part of the monthly community hypnosis sessions t.r.a.n.c.e and runs Jambes, a recording studio commissioning new work by artists experimenting with sound and voice. She is a citizen of Romania, Belgium and Elgaland-Vargaland.
https://dianaduta.com/
https://jaaambes.be/
https://www.instagram.com/dianaduta_/
https://barramovement.com/whisperings-of-the-taxus-trees/


2) Mark Griffiths - We will forget their songs

“We will forget their songs” explores the phenomenon of Shifting Baseline Syndrome (also known as Environmental Generational Amnesia.)

What we think of to be a healthy environment now, would have been regarded by past generations as impoverished. What we judge to be degraded now, the next generation will perceive as the norm. As a result, our expectations of ecologies are lowered, generation by generation.

The work combines narrative, and soundscapes based on bird song. The narrative includes both personal experience and objective statistics.
Four formerly common birds were used to as examples, we start with their natural songs*, but as the piece proceeds, they are electronically processed or recreated as an analogy for the degradation of our memories.

*Recordings of the Turtle Dove, Yellowhammer, Skylark and House Martin are from the British Library archive (Creative Commons Attribution 4 international licence)

Mark Griffiths (b.1959), is a composer living just outside of Oxford, England. He began creating Musique Concrète in the late 70s before moving to ambient and electronica works. He started producing more experimental material again in the 2020s using digital manipulation of real sounds as well as modular synthesis. That work explores dreams, memory, mental states or environmental issues, while some is purely abstract.
He publishes his more conventional material under the name of Mark Ellery Griffiths, the less conventional under the name Mark Dalton Griffiths.
https://markdaltongriffiths.bandcamp.com
https://markdaltongriffithsmusic.blogspot.com

 
3) Petri Kuljuntausta - The Big Reveal (In C)

The Big Reveal (In C) is one of the AI choral parts of the upcoming electronic media opera. The voices of the choir have been sung by real singers, but the control of the choir's voices takes place with the help of artificial intelligence in real time. The choir starts with one pitch and finally returns to the same pitch (C). During the sound journey, the vocalization of the choir thickens and the intensity increases, and we hear microclusters between the notes C–C#–D. Choir singers sing phonemes and produce combinations of phonemes. If the listener hears language-like words in the sound fields of the work, however, these language-like structures are the result of chance or imagined. In addition to the choir, the opera ensemble includes real & artificial intelligence vocal soloists and a synthesizer orchestra. Parts of the opera have been performed as a theatrical version in 2023.

Petri Kuljuntausta is a Finnish media composer, sound artist, adjunct professor of sound art and electronic music, a doctor of philosophy and author of three books on electronic music and sound art. Kuljuntausta's keen interest in sound and its different dimensions has lead him to work in multiple fields of art and science. He started out as a composer and guitarist who played several instruments and created compositions with multi-track technology. Kuljuntausta is currently researching sound communication and making music with other species, especially birds.

kuljuntausta.com
https://en.wikipedia.org/wiki/Petri_Kuljuntausta
https://www.facebook.com/petri.kuljuntausta
https://www.instagram.com/petriear

 
4) Craig Stewart Johnson - Passages and Combinations

'Passages and Combinations' is a work that considers space, as opposed to place, as something constantly under construction. It asks whether we favour time over place, where we place our bets. Recordings of multiple spaces are layered in a spatiotemporal collage, taking the listener to one place, then another, always in flux, never settled.

Touching on how DIY, underground or otherwise experimental art practices work tactically within structures of power, 'Passages and Combinations' positions this temporality not as something to be ignored but as something full of potential.

In fluctuating space, we enact processes of deconstruction and reconstruction, reversal and transversal, working within solid structures to create something fluid, a place where plurality can exist.

Craig Stewart Johnson is an interdisciplinary artist and researcher based in Newcastle-upon-Tyne. He is currently undertaking his PhD research at Northumbria University in the department of Fine Arts, researching the ecologies and economies of the experimental music scene referred to as the no-audience underground. His work revolves around experimental art forms and DIY underground cultures, threads which influence both his artistic and research output.
<a href="https://www.google.com/url?q=https://www.craigstewartjohnson.com&sa=D&source=calendar&usd=2&a

5) Michelle Caron-Pawlowsky - Body Becoming (2:06)
6) Katie McMurran – Ants (2:26)
7) Jacqueline Jay Wilde - Freddy! Wait, don't start. (3:06)
8) Franco Falistoco - GOLEM (BOLETíN de RE-Escritura) (9:06)

 
5) Michelle Caron-Pawlowsky - Body Becoming

My practice is both diaristic and informed by research into subjects such as geopoetics, queer ecology, species extinction, poetry, and ritual. Body Becoming is an exercise in Deep Listening, as developed by Pauline Oliveros, and a response to Oliveros' Sonic Meditations. The piece aims to bridge the language barrier between the human, non-human, and more-than-human by listening, responding to, and amplifying the language(s) of the natural world.

Michelle Caron-Pawlowsky is a multidisciplinary artist from Montreal, Canada, currently pursuing a Masters in Fine Arts at Concordia University in Montreal. They have exhibited their work in Canada, the United States, Italy, and Scotland, and have recently shown their work at the Museo Spazzio Pubblico (Bologna, 2023), Maison de la Culture de Pointe-aux-Trembles (Montreal, 2023), Artch (Montreal, 2021), and as part of a large-scale architectural projection with Montreal’s Quartier des Spectacles (2021). They have completed artist residencies with Art Souterrain (Montreal, 2021), Franconia Sculpture Park (Minnesota, 2021), and Atelier Silex (Trois Rivières, 2023).
https://www.michellepawlowsky.com/
https://www.instagram.com/michellepawlowsky/

 
6) Katie McMurran – Ants

This is a very short work I created around a battle I waged this past year against the ants that had overtaken my hummingbird feeder. It's centered around a musical motif (a little punk rock chorus) that I composed in my head one day, and fleshed out with my own (and two very professional) field recordings.

Katie McMurran is an audio engineer, sound designer and composer currently living in northern California. She studied music technology at CalArts.

Jacqueline Jay Wilde - Freddy! Wait, don't start.

Using fragments of radio broadcast - cut up dialogue and and an intermittent orchestral concert coupled with distorted voice with the intention of creating a discordant and disorientating atmosphere. A few lines are repeated which leave interpretation open.

Jacqueline Jay Wilde is a writer, actor and sound artist. Jacqueline performs her poetry at open mics, acts regularly on stage and in the occasional short film. She trained at Edinburgh College of Art and Acting Coach Scotland and has had sound works performed at Lights Out Listening Group, and broadcast by Radiophrenia,  Writers Block Radio Hour and Pulse Radio.
https://soundcloud.com/jjw51
https://www.instagram.com/jacjayw

 
7) Franco Falistoco - GOLEM (BOLETíN de RE-Escritura)

"Sometimes a beastly rumour breaks the silence."
-| Gustav Meyrink

Experimental radio piece inspired by texts by Gustav Meyrink and The Invisible Generation by William S. Burroughs.
Using as axis a nocturnal sound walk, real time recordings of WSDR sounds and processes and effects on instruments.

Radioartist and cultural manager.
He bases his work on the idea that sound communicates in all its variants, appealing to intimate and collective emotions.
Dedicated to sound experimentation, being radio art and sound art the formats where he channels his artistic concerns.
For the last 15 years, he has been producing El RUIDO es el Mensaje (The NOISE is the Message), a radio laboratory of sound alchemy that uses noise (within the sound axis of a cultural context) as part of the language of sound.
He currently runs the digital label CALATHEA experimenta (calathea.ar).

IG: https://www.instagram.com/noiseisthemessage/
WEB: https://www.calathea.ar
IG: https://www.instagram.com/calathea.experimenta/

This radio work takes a critical position against cartography and departs from its connections to colonial practices of mapmaking and imperial borders. Drawing insights from alternative spatial practices of meandering in some of the Global Souths regions and cultures, and from radical-subversive practices in Europe, such as The Situationists, in this work I explore some listening-driven counter mapping practices, attuning by migratory movement and drifting. Within this discursive context, I present my artistic method of nomadic listening and sonic psychogeography, manifest in this work, which investigates the sonic fabric and distortions of the German city Offenbach, a poorer post-industrial urban terrain during a residency. The sound archaeology lends an ear to underheard corners in public spaces, exposing historical and social layers as acoustic material. Incorporating radio interferences and field recording traces, I try to demonstrate how an unfolding auditory situation holds acts of listening open, instead of closing it down in the form of a soundscape. Here I take liberty to critique Murray Schafer’s soundscaping and acoustic design approach, as for a listening-based artist, it is crucial to perform acts of adaptive perception in intersubjective listening, attunement, and to trace these situations for sharing in the form of drifting and shifting personal narratives. Biography: Budhaditya Chattopadhyay is a multidisciplinary artist, researcher, and writer. Chattopadhyay produces works for exhibition, installation and live performance addressing contemporary issues of environment and ecology, migration, and decoloniality. His works have been widely exhibited, performed, or presented across the globe. Chattopadhyay has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. https://budhaditya.org/

The piece ‘Tobraichean mo Sinnsearan’ is a layered Gaidhlig soundscape weaving memory and place, anchored in the voice of my great grandfather ‘Tuam Ross’ (1876-1960). The piece is derived from field recordings taken by my Great Uncle and Great Aunt (James and Anne Ross) for ‘The Scottish School of Studies’ aural archive in 1957. In the field recordings they interview ‘Tuam’ on the uses and behaviours of the different wells and springs of his local area (Fàsach, Glendale) on the Isle of Skye. Some wells would dry up or get warm in the summer, while others would stay freezing cold at all times of year. There are some wells which are known to have healing properties. There is one he would visit to get water for his sisters or brothers when they were sick. His aged voice carries stories of water, earth, and tradition—of wells that served not just as lifelines, but as spiritual landmarks in the community. These transcripts are layered with contemporary field recordings I’ve taken at ‘Loch Shianta’- a health spring on the Isle of Skye located close to where my family was from.   Cashlin is a Gaelic-speaking artist and experimental musician. Her work explores themes related to ecology and often investigates capitalism's relationship with nature and the human psyche. She enjoys examining subjects from different perspectives—ranging from the micro to the macro. She plays with time and the viewer's subjective understanding of space to reveal hidden perspectives and create illusions.

1) andre birken  - 31 monstrous demonstrations GAUMENFREUDEN 7 (0:41)
2) Lidia Zielińska - Jako te biale myszki (8:04)
3) Stuart Low - mother grew us (1:24)
4) Pete Cox - Africa House (My Love is Like a Red Red Rose) (16.54)
 
 
1) andre birken  - 31 monstrous demonstrations GAUMENFREUDEN 7

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).

 
2) Lidia Zielińska - Jako te biale myszki

Where an Anglo-Saxon sees pink elephants, a Pole (or a German, or Scandinavian) meets just white mice. Be it a partygoer’s morning, or workaholic’s rare pause, or anyone’s moment of distraction; always there are small gaps in perception, barely visible shapes in your eye corner, reiterating echoes, loads of déjà-vus.
Jako te białe myszki dwells on that borderline between sound and silence, dream and reality, half- filled and half-empty, using limited sources (sound of drop of water and rubbed and stroked glass) with utmost accuracy and not without a hint of subtle humour.
[Rafał Augustyn, 1998]
The piece was commissioned by Swedish Radio and realised at EMS in Stockholm in February '96 and in 1997 became the laureate of 24th International Electroacoustic Music Competition in Bourges.

Lidia Zielinska – Polish composer, professor of composition and director of the Electroacoustic Music Studio at the Academy of Music in Poznan; numerous awards for orchestral music, multimedia, electroacoustic works; books, articles, papers, guest lectures (topics: sound and music, acoustic ecology, Polish experimental music, traditional Japan music), summer courses, workshops in Europe, both Americas, China, Japan, New Zealand; electroacoustic compositions realised at the EMS Stockholm, SE PR Warsaw, IPEM/BRT Gent, ZKM Karlsruhe, Experimentalstudio des SWR Freiburg; vice-president of the Polish Society for Electroacoustic Music, former vice-president of the Polish Composers’ Union, programming committee member of the “Warsaw Autumn” Festival.

lidiazielinska.wordpress.com
https://soundcloud.com/lidia_zielinska

 
3) Stuart Low - mother grew us

bit more of my poetry and music software work..

i am disabled i work mostly from home in sound but have been known to use other mediums as paint and words. im 49

 
4) Pete Cox - Africa House (My Love is Like a Red Red Rose)

‘Excerpts from the Ardeer Peninsula’ is a series of three soundscapes each focusing on a specific area of the Ardeer Peninsula which is located in North Ayrshire between Irvine and Stevenston. It was formerly the site of the Nobel Munitions factory and was one of the area’s largest employers with over 13,000 employees. Since closing in the 1990’s, the site has fallen into a state of industrial disrepair with many derelict buildings remaining, whilst the wildlife on the peninsula has flourished and is now the largest brownland regeneration site in Scotland.
This piece focuses on the abandoned, derelict building 'Africa House', which served as a kitchen and canteen for factory workers, and now sits hidden amongst flourishing trees and banks of bluebells.
The pieces were constructed as recordings made in real time of improvisations using field recordings and guitar, processed and recorded through the Max package ‘Ppooll’.

Pete Cox is a Glasgow based sound artist and composer. His work spans field recording, improvisation and sound design practices with a focus on sonic spacial practice. Often using field recordings taken from places that have a personal, familial or environmental significance as a starting point, he explores how the sense of space can be expanded and abstracted though digital processing, looping, and improvised instrumental responses, and how these elements allow exploration into what is present, implied and absent from the spaces, and how this effects the experience of being there.
https://petecoxsound.hotglue.me/?start

Composed of field recordings from around the Salthouse area, Between Tides uses recordings of reeds, saltmarsh, wire fencing, water and shingle, broken down and reconstructed with the use of overtone chanting, reordered and performed by Cecilia in an abandoned oil silo in the North of Denmark.
The soundscape traverses through multiple cross-connecting coastal environments, both of vast and microscopic scales. As it wanders it listens, an experience extending beyond the auditory, listening between perception to a space where nature and imagination collide.

Artist bio:
Cecilia Tyrrell is a Sound Artist and composer from London. Her work combines field recording techniques, ambient voice and classical instrumental textures to create immersive soundscapes and compositions that explore hidden sonic landscapes of the natural world. Her compositions have been described as mindful and lucid, crafting dream worlds that escape reality. As an avid field recordist, Cecilia embraces a mindful approach to audio creation, traveling to unique locations to record sound and resonance that would otherwise go unheard. These recordings are used throughout her work, forming a space for nature and imagination to intertwine.

Website/social links
http://www.ceciliatyrrell.com
Instagram - @ceciliatyrrell

Translation:
https://radiophrenia.scot/wp-content/uploads/2025/04/IRIDE-PROJECT-ROSINA_S-WINDOW-1.pdf 
 
The story takes place in an Italian rural village.
Rusinelle, bedridden for years, dies alone in her bedroom. The window is closed and according to local superstition her soul gets trapped and can not ascend to Heaven, remaining at the mercy of the Devil. Her son Carmine feels the guilt of this accidental negligence. Funeral and burial follow carefully in a mix of Christian and Pre-Christian beliefs rooted in ancient Greek culture. The poor man is haunted by the thought of his mother's soul wandering in the World of the Living and so excluded from the Grace of God. Seeing that, a close friend of the family, driven by Christian faith and superstition, succeeds in getting in contact with the dead and finds out that the woman's soul is saved. A lifetime of humble and Christian behavior made Rusinelle worthy in the eyes of Jesus who gave her Eternal Salvation.

Artist bio:
Monica Miuccio & Massimo Daví began IRIDE PROJECT in 2013. Their electronic and Audio Drama works have been performed in Ireland, Italy, Mexico, Spain, Macedonia, United Kingdom, Finland, Germany, Czech Republic, Portugal and Ecuador in form of acousmatic performances, radio broadcasts and live shows. Monica is a performer and writer, her literary works have been awarded in various literary competitions and published in prestigious editions such as the Psychology magazine “Tecniche Conversazionali” (Milan, IT). Her scripts, poems and tales are the core of IRIDE PROJECT Audio Drama production. Massimo is a pianist and electronic/electroacoustic music composer.

The premise of this radiophonic work is the idea of the mute body. The body as a rebellious ‘other’ with whom communication has irretrievably broken down. We explore the sonification of biological processes and the idea of the mute body within a narrative framework based around personal experiences of health conditions and medical treatments. Through a series of pseudo-scientific medical experiments and strategies we attempt to coax, persuade or trick our bodies into speaking to us once more. If we listen closely, what can our bodies teach us? What will they say?

The first iteration of this idea took the form of a public performance at Gallery Celine in January 2020 titled ‘Prelude to an Opera of the Body’.


Artist bios:

Elina Bry is a French/Finnish, Glasgow based multidisciplinary artist and award-winning filmmaker. They work across video, storytelling and live performance, and are interested in listening to and re-staging the malfunctions of the human body. They are curious about the body as a sentient arena; as a responsive tool and as a protagonist of an everyday drama. By that, they investigate the known, model it and work in collaboration with the instability of their body. It is essential that they don't cause any harm as they want to challenge their body with the everyday, in order to give a stage and witness what is already there.
The thematic undercurrents of ecology and slow travel prominently weave through their artistic endeavours. Through their multidisciplinary approach, they seek to unravel the nuanced interplay between the human form and its environment, exploring the intricacies of the body while maintaining a conscientious connection to ecological and sustainable principles.
https://www.elinabry.com/

Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.  
http://meagreresource.com

Variations on a Topography is constructed in stratified layers, each containing a recording of a full scan of the AM/FM spectrum from bottom to top and back down again. Tuning through the spectrum in the same place every time, Kohl charts a map of her specific signal, showcasing the geographic specificity of radio and drawing out its topography with additional musical sounds. Cello and synthesizer highlight moments of clarity and static, creating a counterpoint ruled by the dichotomy between them. These “signal sweeps” also offer a sedimentary view of time, capturing multiple 28 minute sections of what would otherwise be completely ephemeral sounds. The recordings, taken over the span of a few months, speak in various ways to the passage of time – the weather gets colder, traffic patterns shift, wars break out. The signal, like a ghostly mountain range, hovers around us. Artist bio: Lia Kohl is a cellist, composer, and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound. More info about Lia at liairenekohl.com Website/social links liairenekohl.com @liairenekohl on Instagram

1 Adrian Laugsch - Spasms Of My Aching Heart (6:21)
2 Andreas O. Hirsch – Rise (4:24)
3 Dariusz Mazurowski - Dossier of Oblivion (13:44)
4 Elizabeth Flood - Repetition as Transformation : Dream (7:01)
 
1) Adrian Laugsch - Spasms Of My Aching Heart

"Spasms of My Aching Heart" unfolds somewhere between a kitschy concept album and an AI-generated opera. Consisting of five originally AI-generated (but heavily revised) songs, the album delves deeply into the potential of technology in dialogue with trauma, kitsch, and pathos, striving to create a form of post-digital emotionality and artificial opulence. Shaped by kitsch theory, queer camp, and the aesthetics of Schlager music, the songs embrace their (over)expressivity with seriousness while remaining fully aware of their own absurdness.

Adrian Laugsch (*1997) is a german-polish composer/performer/soundartist.
Based on his musical interest in historical, (auto)biographical, and nostalgic sounds, his compositional work is significantly shaped by the desire for the substantive expansion of the sonic through theatrical, interdisciplinary, and multimedia strategies.
This may range from extra-musical concepts and narrative arcs to the explicit use of stage and video, intertwining traditional formats such as concert, radio play, album, music theater, and installation.
Consequently, his thematic focus lies on queer, hybrid, non-normative, and transgressive identities, as well as the exploration of post-digital artificiality and meta-religious opulence in the staging of socio-political mechanisms.
https://www.adrianlaugsch.com

2) Andreas O. Hirsch – Rise

Part of Hirsch’s new album The Salamander Treaty, out on makiphon in spring 2025. The album title makes reference  to ‚War with the Newts‘, an abysmal yet hilarious science fiction novel by Karel Čapek from 1936. The album is a sort of pacifist replica to this, with claims like Tea Time Unlimited and such. The album title and some of the track titles invite to play around with the phonetics and the meaning of the terms „treaty“, „tree“ and „tea“.

Andreas Oskar Hirsch is a Cologne based musician, visual artist and inventor of electroacoustic instruments. Together with Patricia Koellges he runs makiphon, a label for experimental music and artist records.
http://www.hirschonhirsch.com
http://www.makiphon.de

 
3) Dariusz Mazurowski - Dossier of Oblivion

"Dossier of Oblivion" is the second part of Hidden Dimensions another large-scale electroacoustic composition, in three parts, each having its own dramatic structure and profile. Again, in this case each part may also be performed as a separate piece. It contains a large collection of various sounds – mostly pure electronic and synthesized, but also those derived from vocal sounds. For this work, the entire sonic spectrum has been processed with both analog and digital tools, including phase vocoder technology, analysis and re-synthesis of various source samples, physical modeling, complex hybrid processing and many other techniques.

Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

 
4) Elizabeth Flood - Repetition as Transformation : Dream

Beginning in the body, with language of the body, with dream language, Repetition as Transformation is interested in what is lost, found, created, and felt when recounting a dream through language. Using a dream diary recording and playing with systematically removing parts of speech and rearranging, this sound collage was an exercise in recreating the feeling of language in a dream and the difficulty of finding it when waking.

Elizabeth Flood grew up in Massachusetts and currently lives in Chicago, IL. She likes to go on walks, talk on the phone, eat dinner with friends, and take ballet classes. Flood's radio work is interested in playing in the blurry space between transmission and reception, signal and noise, dreams and waking, here and there. She is curious about what radio would sound like if we didn’t listen ‘to know’? She tends to find work (and play) most interesting when creating a system and being curious about the outcome, rather than seeking a particular end result.

5 Frederico Pessoa - O lugar por onde a água corre (the place through which the water runs) (9:50)
6 Home Secretary – An Object (5:01)
7 Jorge Ramos – Paysage – (5:16)
8 Akari Komura - A piece of paper, a flutter of trees (5:13)
 
 
5) Frederico Pessoa - O lugar por onde a água corre

"O lugar por onde a água corre (the place through which the water runs) was created from recordings in Cachoeira das Andorinhas Park, where the source of the Rio das Velhas is located. This river flows through much of Minas Gerais and is a tributary of the São Francisco, one of Brazil's largest rivers. The different sounds, rhythms, and flows of water running over the various surfaces and landscapes of the park combine with excerpts of the oral expressions of Indigenous brazilians about rivers. Reflections by Ailton Krenak, a member of the Krenak ethnicity, Glicéria Tupinambá, of the Tupinambá ethnicity, and Antônio Bispo dos Santos, a quilombola from the Quilombo Saco Curtume, offer a poetic expression of their experience and knowledge about the complexity present in the waters and the life that exists in and flows through them. Voz: Flávia Péret.

Frederico Pessoa is a musician who collects soundscapes and everyday occurrences for reinterpretation in electroacoustic and radio pieces, audiovisual works, and multimedia performances. He has written texts at the intersection of literature and the sociology of listening, aiming to explore, through words, the possibilities for mobilization created by sound. He holds a Ph.D. in Arts from UFMG/Brazil, and is a member of ESCUTAS: a research and study group in sonorities at the same institution. Additionally, he is one of the coordinators of the Laboratory of Sound Experimentation at UFMG, where he works as a sound designer.
http://www.fredericopessoa.net
@f__pessoa
https://www.facebook.com/frederico.pessoa.50/

 
6) Home Secretary – An Object 
https://cardboardclub.bandcamp.com/album/stamen-and-pistil-are-husband-and-wife
 
 
7) Jorge Ramos – Paysage

Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity. Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realize how musical sound is constantly all around us.

Jorge Ramos is a Portuguese multiple award-winning composer, sound artist, and researcher based in London. He has written solo, chamber, symphony, mixed, electroacoustic, live-electronics, film, stage, installations, and advertisement music for festivals, orchestras, ensembles, and soloists across Asia, North America, Central America, South America, and Europe, while also collaborating with other artists and/or institutions on artistic contributions and computer music design. He held a composer residency at various prestigious institutions including the Calouste Gulbenkian Orchestra, Estúdios Victor Córdon, Sentidos Ilimitados, and Grand Théâtre Luxembourg. Jorge Ramos holds degrees from Conservatório de Música Calouste Gulbenkian de Braga, Escola Superior de Música
https://jorgefpramos.com
https://www.facebook.com/jorgefpramos/
https://www.instagram.com/jorgefpramos/
https://www.youtube.com/JorgeFPRamos

 
8) Akari Komura - A piece of paper, a flutter of trees

The piece engages with an intimate dimension in listening. The work reconstructs recorded sounds from slowly tearing pieces of paper that gradually develop into a modified assemblage of various timbres and rhythms. With reference to musique conréte, "A piece of paper, a flutter of trees" experiments with finding the intersection of sonic and tactile sensory experiences. "

Akari Komura (b.1996) is a composer-vocalist from Tokyo, Japan. She is interested in curating a participatory performance space that invites both performers and listeners for a collective and ritualistic act of listening and soundmaking. Her works have been presented at the Atlantic Music Festival, Composers Conference, Montreal Contemporary Music Lab, Nief-Norf, and soundSCAPE. She holds an M.M. in Composition from the University of Michigan and a B.A. in Vocal Arts from the University of California, Irvine. Akari is currently a Ph.D. composition student at the University of California San Diego.
https://www.akarikomura.com/
Instagram: @sonichabitat

Bricks made of audio excerpts from 1970’s detective television programs are stacked in a cluttered formation. The samples used are not dialog, musical scores or intricate foley - but of the bits that remain. The shuffling, coughing, moving, activity of people; as well as incidental music, traffic, machines and the occasional radio burst. A mortar of ambient sounds fixes these bricks into a wall ripe for mediative viewing.

Artist bio:
A one person audio project focused on computer produced music combining virtual instruments with samples from media archives, radio, and other field & audio recordings. Also – occasionally collaborating with other actual humans.  [Winnipeg  - Canada]

Website/social links
https://northfield-lenox.com/
https://soundcloud.com/northfield-lenox/albums

"Genesis" is inspired by the subtle relationships between sound and space, the phenomenology of sound, and contemporary research on communication systems in nature and ecology. In addition to the violin and EMS Synthi 100, the artist uses field recordings from Montreal, Portugal, the islands of Vrnik, Mljet, and Silba, various locations in Thailand, Lake Miraflores near the Panama Canal, and the slopes of Avala near Belgrade.
 
http://manjaristic.blogspot.com/

Despite Sight (2024) by Kristina Warren is a surreal soundscape constructed from a variety of recognizable, allusive, and opaque sounds. Through its deceptively representative sounds, Despite Sight thematizes the massive contemporary denial of various geopolitical and epidemiological events which can be plainly observed. Artist bio: Kristina Warren (kmwarren.org) is a sound artist and improviser based on Narragansett land also known as Providence, Rhode Island [US]. Described as "beautifully organic" (Peter Bruyn) and displaying "a finesse of timbral traces" (Frédéric Cardin), work by Warren has been presented internationally at venues including Espacios Sonoros [AR], Experimentik [DE], and WORM [NL]. Currently a MacColl Johnson Fellow of the Rhode Island Foundation, Warren previously taught electronic music and multimedia at Brown University in Providence. Website/social links kmwarren.org kmwarren.bandcamp.com instagram: @kmwarren.sound

Vanishing Signs on the Sky is the fourth part of a large-scale electroacoustic composition The Destroyer of Dreams and may be performed as a separate piece also. A very personal work, dealing with thoughts of happiness. Contains a large collection of various sounds – synthesized, concrete and many others. In this particular case, the whole sonic spectrum have been processed with both analog and digital tools to gain rather complex, hybrid textures. Composed and recorded at the De eM Studio, between April 2015 and June 2017. Main audio sources for this composition include complex analog, digital and hybrid synthesizer patches, various textures created with the use of phase vocoder technology, analysis and resynthesis of various sources. For the multichannel mix various advanced software processors were used to obtain a faithful spatial diffusion of the sounds. Premiere performance: April 15, 2018, Vox Electronica 2018 festival, Gunpowder Tower in Lviv (Ukraine).

Artist bio:
Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.

Website/social links
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

This piece is a collaboration between choreographer and sound artist Netta Weiser and performer and writer Nora Amin. The piece revolves around a choreographic poem the artists co-created in a process that combined somatic practice and collaborative writing. The text unfolds a body memory of Nora: walking across the pedestrian bridge over Tahrir Square, looking up at her mother’s legs exposed by a short skirt. This childhood memory manifests conditions that have changed considerably since then: The bridge no longer exists, Tahrir Square was the site of the 2011 revolution (in which Amin took a leading part), and short skirts are no longer allowed in public spaces in Cairo. Amin and Weiser wrote and rewrote this biographical memory finding a shared voice that raises the question: Who owns the memory? In this radiophonic composition, one can hear the voice of Nora, surrounded by sounds of moving, touching and humming bodies.

Artist bio:
Netta Weiser is an artist and choreographer based in Berlin, working across performance, sound installation, and experimental radio. In 2019, she established the long-term artistic research project Radio-Choreography, which explores the poetics and politics of transforming dance into sound, the relationship between live broadcasting and muted histories, and acts of listening as modes of being together. Her work has been presented internationally, most recently at the Akademie der Künste Berlin, KW Institute for Contemporary Art Berlin, Tanzquartier Wien, Onassis Stegi Athens, WDR, Villa Medici Rome, Badischer Kunstverein Karlsruhe, and TONSPUR Micro Museum for Sound at MQ Vienna.

Website/social links
https://radio-choreography.net/

‘Imaginary Conversations’ is a piece of radiophonic storytelling, filled with obscure words, names and verses apparently with little to no explanations attached. In the centre sits ‘Heo Nanseolheon’, a prodigy poetess from 16th century Korea, followed by a string of poems cryptically unfolding her tragic life story which was due to her gender at the time. Some of these poems are rather limerick-like, written by myself in the manner of ‘seconding rhyme’, an ancient Sino-Korean poetic technique of taking the rhymes of an honoured poet (Heo in this instance) and creating new ones as sign of respect. This piece also addresses the story of Lucia Galvani, the wife of Luigi Galvani, who played a crucial role in her husband’s scientific work, but was never credited, expressed through verses penned by the poet Jo Shapcott excerpted from opera ‘Alive and Kicking’, and an entry from Encyclopedia Britannica.

Artist bio:
Una Lee is an artist working with sounds, stories and sensations, in perpetual pursuit of alternative storytelling. She seeks innovation in the contemporary marriage between performance and poetry, exploring human condition, memory, time, and our relationship with art and ecology through narratives often drawn from her autobiographical events as a non-native in her current habitat. She is an Oram Award winner and Ivor Novello Composers Award nominee. She has gained support from Arts Council Northern Ireland, Arts Council England, and PRS Foundation, among others, and been featured on BBC Radio 3, BBC Ulster/Foyle, and RTÉ lyric fm.

Website/social links
http://www.unalee.org
http://www.facebook.com/singinguna
http://www.instagram.com/singinguna

This creation relates the relationship I had with this construction site (a hospital being destroyed and renovated to make housing for the elderly) which I followed over several months. This piece reflects how I imagine these places when I feel them, how I regain a form of control over them by letting them express themselves. Trying to trigger an imagination, playing with urban sounds and more specifically construction sounds, so that can transgresses their origins. The empty buildings fill up, they breathe and become active where there was only noise and residue.
A painting, an autopsy of my imagination when it comes to open microphones to these places under construction, when it comes to dealing with and through these environments.

Artist bio:
With a background in film studies, I like to work and question the way sound can awaken the senses and question our relationship with spaces. It is through this practice combining documentary, acousmatic and phonographic composition, that I create sound pieces where living spaces and intimate stories intertwine. Cities represent a privileged listening ground where it questions our relationship to public spaces and urban planning. I am currently working on a project called Voies Urbaines, a project on the sounds of construction sites, on the specificity of these sounds and what they tell us about the evolutions of our cities.

Website/social links
https://mathiasguilbaud.fr/
@mathias.guilbaud for Instagram

come, Memory was a long-dream-of, research-led project, begun in September 2021 by Katrina Niebergal, that centred around three research/recording trips taken to a series of ancient (especially Neolithic) European sacred sites. The project included: research; the recording of Super 8mm film, 35mm photo, and sound; the assembly of three short, experimental films, and the creation of a scenographic installation. come, Memory: fieldwork is another iteration of this project — an expanded research and sound document — collaboratively made by Katrina Niebergal and Bergur Anderson (the project’s field-recordist and film soundtrack composer). The project in all its facets, looked speculatively, through embedded, eroded and residual evidence, at the presence/absence of the divine womanly (or Great Mother), and at the idea and sens-o-reality of earth-sentience. It looked to the ancient (pre-capitalist and pre-patriarchal) past to think/feel into feminist futures.

Originally released as a limited edition cassette on Futura Resistenza, Brussels.

Artist bio:
Katrina Niebergal is an artist working across various media and processes, including research, filmmaking, installation, sculpture, sound and language. Increasingly, she is combining these into long-term, multifaceted, world-making projects with an emphasis on: poetic logic; the dubious and multiform subject of the womanly “irrational”; and the pre-historic and speculative-future epochs.

Bergur Anderson is a visual artist, producer-composer and sound-maker. His practice combines and exists somewhere between music, performance, world-making and conceptual sound art. Through various solo and collaborative projects he makes publications, performances and installations that reflect on his interests in polyphonic storytelling, orality and the transitory qualities of sound.

Website/social links
https://katrinaniebergal.com
https://www.instagram.com/katrina___niebergal/
&
http://berguranderson.info
https://www.instagram.com/bergur__anderson/

Where must the prayers hide in the sound of the city so that clouds could reach them and water?
An undertone of the city? An overtone? A polyphone?
Millions of them in a cosmic float?

Delhi Polyphones is a series of multichannel compositions, performances, and rituals, composed of Delhi’s undertones, overtones, and many other polyphones. After recording soundscapes from around Delhi, including tombs, railway stations and tracks, lakes, atmospheric virtual tones, parks, industrial areas, bridges, underpasses, universities, and ultrasonic environments, using inverse notch filters and new pure data devices, the collaged soundscapes were synthesized in their polyphony to return to the city as a natural body and hear its many paraphonic polyphonic voices- interdependently making up our sonic environments -to access aural auroras of the city which reach out to the skies in feebler, nobler intonations and gestures.

Read full description here - https://tinyurl.com/delhipolyphones

Artist bio:
Riya Raagini & Pratyush Pushkar a.k.a. Bariya is a queer transdisciplinary artist and writer duo from New Delhi, India.
Their practice flowers from sincere ecological & decolonial awareness and meditation probing through subjective consciousness(ing) with a request to examine and host alternative forms of cognition, listening, un-identity, spirituality, and active resolve. Navigating through creating/rediscovering queer/granular cognitive responses, rigorous poetic probes, collaborative ecological & bioacoustic listening, running an ecological radio station and meditating on ever-present everyday sonic reconciliations. Their recent listening undertakings have been focused around polyphony, speculative bio-acoustics, and granular timesthesia.

Website/social links
Website: https://www.bariyastudio.com/
Instagram: @bariyastudio

"Four Days" is a telling of my mother’s final days in hospital in June 2013.

As content warning, this story indirectly touches on taboo topics of incest, paedophilia, sexual assault, and death. I connect the arc of these four days to my growing in kinship care and through to my last drink of alcohol.

Since 2019, I’ve been writing and refining this story. It is now finished.

The recording of my reading this story took place at the Rose Shure Experience Centre in October 2024, with thanks to Shure UK. I'm also very grateful for the support from Wisebuddah, and of Matt Podd, who carefully processed my voice.

The music between story sections is "Rain Ritual", one of the first pieces I composed after a 30-year break from music. It was my debut for the weekly @naviar-records Haiku Music Challenge. Listen here to that: https://soundcloud.com/leonclowes/rain-ritual-naviarhaiku3

Artist bio:
leon clowes is an artist researcher currently completing research into self-compassionate autoethnographic trauma-inspired performance practice at London College ofg Music.

An Open School East Associate Artist of 2022/2023, leon’s commissions include SPILL, Deptford X, Frieze and SUPERNORMAL festivals, Snape, NMC Recordings and LGBTQ+ Music Study Group for The British Music Collection.

leon is also a writer and editorial board member for Performing Recovery, the online magazine of the Addiction Recovery Arts Network. (https://recovery-arts.org/)

Website/social links
Website: https://www.leonclowes.com/
SoundCloud: https://soundcloud.com/leonclowes
YouTube: https://www.youtube.com/@leonclowes
Instagram: https://www.instagram.com/leonclowes/  
Twitter: https://twitter.com/ClowesLeon

A man visits the Scottish Highlands for a winter break. On his first night he has what can best be described as an unusual experience. The following morning he telephones a friend in Surrey and recounts the events of the previous evening.  
 
Man in the Highlands - Guy Gregory 
Man in Surrey - Jonathan Bohman 
Dobson - Adam Bohman 
"John" - Jonathan Bohman  
 
Writer - Richard Thomas 
Music and sound design - Richard Thomas 
Field Recordings and Foley - Jonathan Bohman 
Additional music cues – Secluded Bronte, Wagner, Schubert, Mendelsohn.  
 
Recorded at 360, 35 and on location. 
A Phone Call From The Highlands is a Secluded Bronte production.
 
 
Followed by short work:
 
Isik Kural - Under the Canopy

1) Gregory Kramer  - Midnight Mission 7 (12:15)
2) Nguyen Hoang Gia Bao - Y.Ê.U _ L.O.V.E (1:04)
3) Beth Robertson – Puddles (22:00)
 
 
1) Gregory Kramer  - Midnight Mission 7

Midnight Missions is a series of live-recorded soundworks incorporating shortwave and emergency/public safety radio channels among other instruments, some of which I’ve modified from discarded electronics. The sessions use sound as ritual to project out-of-body into the night, visiting other cities via their radio transmissions and weaving them into the recorded piece.

Gregory Kramer is a multidisciplinary artist and musician working with sound and space. Taking inspiration from his archaeological curiosity of abandoned places, he seeks ghosts among ruins and unearths evidence of forgotten histories. He works with field recordings, electronics, video and found materials, as well as builds sound sculptures and installations. His work has been in exhibitions at Spain’s Museo Centro de Arte Reina Sofia, Belgium’s Site Specific, Mexico’s SONOM Sound Art Festival and Indonesia's Setia Darma Museum of Masks and Puppetry. He has album releases on Taâlem, MuteAnt Recordings, Pharmafabrik, Monotype Series and Impulsive Habitat.
http://www.gregorykramerstudio.com
@gregorykramerstudio

 
2) Nguyen Hoang Gia Bao - Y.Ê.U _ L.O.V.E

nHữNG NgÀY kHÓ ở Ở trêN đỜI // thoSE hArD-TO-liVe dAYS was a collection of 5 selected poets, written from 2021 - 2022 by Nguyen Hoang Gia Bao. Each of them was originally a statement of confrontation with the socially constructed so-called "nature", juggling between binaries of man & woman, love & hatred, individualism & collectivism, and so on.
As a way to deconstruct the "nature" concept, the anthologies were later exhibited in a digital space with an invitation for community manipulation. Readers were encouraged to rewrite or delete the words in their own interpretation and stylistic choices. The latter would work on the former's version/interpretation.
The audio version was captured in time of the 6th version, recorded and mixed by the original author as a means of reclaiming and authorship. The sound mixing is intentionally "left" because everything is not "right".

Nguyen Hoang Gia Bao is a Vietnamese writer and multidisciplinary artist. He embraces multimedia and expression, such as typography, photography, film, sound art, performance art with a core appreciation of poetry practices. His works have been featured in Vânguard Zine (Issue 6), Sui Generis (Bard College, 2024 Edition), WCBX Zine, etc. Bao is currently pursuing a BA Degree in Art and Media Studies at Fulbright University Vietnam.

https://www.instagram.com/nguyenhoanggiabao_/)

 
3) Beth Robertson – Puddles

Puddles is a 20 minute composition of sounds from beneath, above and around ponds, puddles, tide pools, streams, flushes and potholes. All of which are below 50 hectares, the smallest size a body of water can be to be legally protected by the Water Framework Directive in Europe. These little bodies of water are incredibly important as habitats for plants, amphibians and insects, cultivating even more biodiversity than larger bodies of water.
All of the sounds have been compiled from the past few years of field recording. Included are cave ponds on the Isle of Eigg, tide pools on Troon beach and kids wellies as they splash in London’s street puddles. Some are only with us at certain times of the year and some come and go in only a few hours, giving us little time to marvel at their strange celebration of uneven ground and shifting topographies.

Beth Robertson is a sound artist based in London and Glasgow. Through the use of field recordings, photography and composition she create sound maps and installations that explore local ecologies and playfully experiment with different mediums of listening. Within her work she seeks to queer the relationship we have with our environment through sound and put collective listening into practise as a form of environmental activism. She has a monthly radio show on Resonance FM exploring the entangled urban identities of London’s local wildlife.
http://www.wohnensound.com
https://www.instagram.com/woh.nen/

4) Anatole De Baerdemaeker - à la droite de Robert (2:22)
5) Kit Beaufoy - Exploration #1 For Two Radios (9:42)
6) Thomas Ott – Ordinary Rituals I (11:38)
 
 
4) Anatole De Baerdemaeker - à la droite de Robert

Hockey games, repeating themselves, repeating themselves, repeating themselves, wherever you go.

Anatole De Baerdemaeker is a Quebec-based artist from Belgium. Sometimes as a sound designer, sometimes as a documentarist but always as a storyteller, Anatole explores the sounds of the daily life and tries to encourage community.
In 2024 Anatole releases his first experimental audio documentary, Creuser Mon Corps, which visits eating disorders in men.
In 2025, Anatole will start a longterm project. A audio docu-fiction about the opening of a copper mine in his region.
https://www.instagram.com/anatolitolitana/
https://soundcloud.com/anatoledb
https://www.facebook.com/anatoledebaerdemaeker/

 
5) Kit Beaufoy - Exploration #1 For Two Radios

Exploration #1 For Two Radios is the discovery of a beast. A beast that lurks in the electromagnetic waters. A creature formed from the familiar sounds of analogue radio that is awoken by the turning of a dial sending ripples across the radio waves. Over the course of the piece, the listener is hunted down through the radio, chased by a beast that is not confined to a single frequency and exists all around, silently stalking, watching, waiting until it is illumined by your receiver.

Kit Beaufoy is a sound artist and composer who works with a series of transmitters and receivers, performing within the radio, in an attempt to reanimate and reframe analogue radio listening in the 21st century. His work proposes an alternative use for the radio spectrum - as a compositional device that is considered a whole rather than individual monolithic stations separated by static.

@kitbeaufoy
kitbeaufoy@icloud.com

 
6) Thomas Ott – Ordinary Rituals I

'Ordinary Rituals I' is the first of series of pieces exploring the sounds which form the backdrop of our everyday lives and which we often tune out. Each piece starts with a field recording of these ambient sounds, and this is then expanded using the Pareidoliac Method to create meditative drone pieces. The Pareidoliac Method starts with the original field recording and through active listening an additional layer is adding seeking to supplement and draw out sounds already present. The track is mixed down after each layer, so the second layer is added to supplement aspects of result of the initial recording and the first layer, in this way the track is built up organically.

Thomas Ott is an experimental musician, noise artist and drone merchant based on the East Coast of Scotland. Best known for his work with experimental metal band Catafalque and Harsh Noise Project The Dead Yesterdays, his solo drone work is a vehicle for developing and exploring his Pareidoliaic Method.
https://thomasott.bandcamp.com/
https://catafalque.bandcamp.com/
https://deadyesterdays.bandcamp.com/

"The Length of a Wave" was created for the launch of Occulto's R A D I O zine on January 12, 2024 at Errant Sound, Berlin, to which Deanna Radford contributed a poetic work. Recorded at Les Ateliers Belleville in Tio’tià:ke tsi ionhwéntsare / Mooniyang / Montreal. R A D I O is a poetry zine in print and sound released in September 2023. It emerged from a rediscovered passion for poetry blended with collective reflections on sustainable self-publishing, a decade-long involvement with sound experiments, and a soft spot for ‘radio’ as medium, technology, and (multilingual and multimeaning) word.

Artist bio:
Cloud Circuit:
Deanna Radford (word events, paper, walkie talkie)
Jeremy Young (radio, oscillator, EMF)
with special guest: Martín Rodríguez (radio, modular processing).

Website/social links
https://cloudcircuit.ca/
https://rdzmartin.com/
https://www.occultomagazine.com/radio-1

A collaboration between Chris MacInnes and Krystle Patel that considers the flattening of information in contemporary news media. The resulting overwhelming sensation of noise and misrepresentation is expressed through modular synths and the voice. The language used in the performance expresses the experience of cultural visbility and the violence of representation. The subsequent flattening of cultural identities and ideas of Britishness and/or Indianness collide here as a response to an over saturation of information alongside a laziness to appear to respond to contemporary questions about identity, imperialism and privilege.

Artist bio:
Krystle Patel is a London-based Asian artist. She gained a degree in Dentistry and completed her MFA at Goldsmiths University. She was selected for Bloomberg New Contemporaries, Goldsmiths Alumni commission, had work acquired for the Government Art Collection and was the artist in residence at UCL's Institute of Neurology.

Chris MacInnes is a British-American artist raised in Sheffield. Currently based in London his recent exhibitions include: Terra Regis, Terra Neminis, Phoenix Centre, Leicester (2023); Imagine Escape in Darkness, Offsite Projects, online; Long Range Correlations, Schimmel Projects, Dresden (2019); and Whale Fall, Gossamer Fog, London (2019).


Website/social links
https://youmockedmeonce.com
https://www.instagram.com/youmockedmeonce
https://www.instagram.com/stickyvectors/
http://christophermacinnes.com

A collaboration between Chris MacInnes and Krystle Patel that considers the flattening of information in contemporary news media. The resulting overwhelming sensation of noise and misrepresentation is expressed through modular synths and the voice. The language used in the performance expresses the experience of cultural visbility and the violence of representation. The subsequent flattening of cultural identities and ideas of Britishness and/or Indianness collide here as a response to an over saturation of information alongside a laziness to appear to respond to contemporary questions about identity, imperialism and privilege.

Artist bio:
Krystle Patel is a London-based Asian artist. She gained a degree in Dentistry and completed her MFA at Goldsmiths University. She was selected for Bloomberg New Contemporaries, Goldsmiths Alumni commission, had work acquired for the Government Art Collection and was the artist in residence at UCL's Institute of Neurology.

Chris MacInnes is a British-American artist raised in Sheffield. Currently based in London his recent exhibitions include: Terra Regis, Terra Neminis, Phoenix Centre, Leicester (2023); Imagine Escape in Darkness, Offsite Projects, online; Long Range Correlations, Schimmel Projects, Dresden (2019); and Whale Fall, Gossamer Fog, London (2019).


Website/social links
https://youmockedmeonce.com
https://www.instagram.com/youmockedmeonce
https://www.instagram.com/stickyvectors/
http://christophermacinnes.com