Tue 8

Seasonal Round is a spoken word opera on the themes of time, evolution, metaphysics, and the cosmic play at work in our universe. It's a morality play for the 21st century that addresses both the hope and absurdity of our tiny little corner of a galaxy among billions of other galaxies in our universe.      

Artist bio:  
Kenneth Newby is a Canadian composer, media artist, visual artist, animator, educator, interaction designer, and audio producer whose creative practice explores the use of technology to enable the exploration of the infinite design-space of cultural practices. Kenneth’s music blends a rich set of influences and experiences—classical music,  creative music, computer music, improvisational techniques. Robert Anthony is a San Francisco-based poet.    

Website/social links   
https://www.facebook.com/kenneth.newby/

This piece is an improvised encounter between Zahra Pourazizi and Nicolas Montgermont during the Placard headphone music festival. Nicolas creates deep, dark soundscapes, textures that stretch out over time, intensifying in waves, gradually creating a musical foundation on which Zahra reads her poetry. First in Persian, then in French, Zahra's text becomes flesh, and metamorphoses into voice. Her words caress the soundscapes; it is the encounter and ecstasy of scream and whisper. The poems bear witness to violence, sensuality, pain, exile, and absence. These two sound materials act as counterpoints: synthesis vs. embodied voice, continuous sounds vs. discrete events, artificial constancy vs. human fragility. Together they construct a space in which the audience can follow different paths of listening.    

Artist bios:  
 
Born in Tehran and living in Paris, Zahra Pourazizi is a poet, writer, and translator. Most of her work is written and published in Persian, French, and a few have been translated into English and Greek. She recites her poetry during radio readings, and performs with musicians and sound artists.
 
Nicolas Montgermont is a sound and radio artist who explores the physicality of waves in their multiple forms. For the past twenty years, he has been designing devices that explore the poetic, physical, and political essence of waves through a critical approach to the relationships between sound, time, and listening.      

Website/social links   
https://www.zahra-p.art/
https://nimon.org/en
https://www.instagram.com/nicolasmontgermont/

Music for magnolias is an outdoor sound installation. It consists of several sound-making "Spots" - each made-up of a small solar cell and a tiny electronic circuit. These Spots are attached to the lower branches of a large tree (preferably a Magnolia). As the sun moves across the sky, it shines through the leaf coverage of the tree and produces a dappled light effect on the solar cells. This causes the solar power for each circuit to fade in and out, allowing each Spot to play with different sounds and signal strengths at different times of the day and in different weather conditions. This radio piece is a recent recording of Magnolias playing in the winter sun, with a bit of the outdoor background noise and some added birds and sounds from the summer.    

Artist bio:  
Absolute Value of Noise (Peter Courtemanche) is a sound artist living in Vancouver. He works with radio and sound installation in indoor and outdoor locations. He likes to work with bio-electric circuits, magnetic transceivers, and "little electronic brains" that observe and respond to local phenomena. His outdoor installations typically integrate solar-powered electronics with plants. These works investigate themes of bio-diversity, extinction, and fragile eco-systems. They emphasize the invisible, drawing attention to things people normally overlook or avoid (insects, lichen, moss, weeds, pollution). The sounds from the outdoor works invariably make their way onto the radio and into various performance pieces.    

Website/social links   
https://absolutevalueofnoise.ca/
https://absolutevalueofnoise.bandcamp.com/

This piece focuses on the kind of radio most people imagine when thinking about radio: AM and FM radio. They are cheap to operate and listen to, and very
much present anywhere in the world.

I was fascinated by my grandfather's radio. It was a wooden box almost my size, with the names of dozens of unknown cities written on a giant dial.

We shaped and reshaped radio to make voices clearer. In the process we coloured everything else. I have always loved the way the medium colours the content flowing through it.

A radio transmission will face several obstacles. Variations in air pressure, poor weather, and more often than not a literal mountain. All these expose its
weak points and introduce randomness and faults. But there is some comfort in the noise, and the sense of a small victory when you point an antenna to the
right spot.    

Artist bio:  
Pedro Figueiredo is a sound artist and software developer living in the southeast coast of England.

His work stems from a love of imperfections, repetition, and stillness; on the verge of breaking but not quite. He creates listening experiences and
site-specific works, by bringing together warm electronic sounds, field recordings, and tape hiss. He releases music as Stray wool.
    
Website/social links  
https://straywool.com/
https://instagram.com/straywool

- sound and place converge in the urban soundscape-

This project emerged from the collaboration of two like-minded sound artists who set out to merge parallel listening experiences from two distant cities—Ulm in Germany and La Spezia in Italy—into a single work. The artists recorded sound walks along mirrored routes: from the railway station to the cathedral, and from the old town to the waterfront. Although the journeys shared the same points of departure and arrival, each path remained unknown to the other.
The project aims to bring together parallel urban worlds, intertwining natural and artificial sounds across distance. By layering these sonic narratives, it creates a situationist drift—where different geographies speak simultaneously of analogous itineraries. The result is a free-form flânerie, a shared exploration of the inner soundscapes of two cities.    

Artist bio:  Daniele Virgilio
plans, researches, plays, writes, disobeys, takes photographs, walks away.
danielevirgilio1.bandcamp.com

Peter Schubert / auvikogue
… questions, listens, researches, drifts, absorbs, destroys, rearranges, moves, changes, bothers and stays, unadapted.
http://www.auvikogue.org    

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

1 Elisabetta Senesi•Ilaria Palloni - 50•91•Passaggi (in)Permanenti (4:30)
2 Phaune Radio - Promousse pour le Temps Flottant (15:06)
3 SASOR – ROSAS (LADO A) (17:57)

1) Elisabetta Senesi•Ilaria Palloni - 50•91•Passaggi (in)Permanenti

The project is based on the theme of transition in everyday life as individual either as a community, and is focused on our first working experiences evolving in many ways over time. How have they changed us? What remains? How can we translate them into sonic thoughts? All these existential passages with their social implications can be transcribed, reimagined, and interpreted in new forms, abstract/ephemeral besides tangible/concrete. The piece is a partial released, ongoing soundwork, bringing together graphic scores, synthesized sounds, field recordings, acoustic clips and reshaped music, rhapsodically mixed and open to further sonic investigation in experimental composition.    

Elisabetta Senesi - Artist and academic, she explores the relationship between sound and image, the everyday sonic spaces and aesthetical critical listening. Her work includes mixed media installations, public arts interventions, audio interactive works and experimental sonic compositions.

Ilaria Palloni - Flutist and musicologist, she collaborates with research groups in Italy and abroad, carries out her instrumental activity in various formations of chamber music, she teaches flute at some cultural associations with which she organises musical courses for children.    

Instagram:
elisabetta_senesi
ila_flute

Facebook:
Elisabetta Senesi
Ilaria Palloni

2) Phaune Radio - Promousse pour le Temps Flottant

Some languages trace themselves through the air; others are born in the night. Here, you will encounter words that exist nowhere else: spores, invented fragments, shards of perception not yet shaped. You do not need to understand them. You can let them pass. You can listen as one walks through a landscape, without searching for a map.
Promousse pour le temps flottant is a sonic piece structured in seven movements, where voice, sound and listening venture together into a porous territory. Language loosens its grip on meaning and becomes a material to inhabit rather than decode. The voice does not narrate; it advances by touches, pauses and slight displacements. Words appear, drift and dissolve, as if overheard between waking and sleep.
At the heart of the piece lies promousse, an invented word naming a fragile emergence: a moment when something begins to grow without yet taking shape.    

Phaune Radio is an independent webradio founded by sound artist Floriane Pochon. Broadcasting 24/7 since 2013, it functions as both a curated stream and a laboratory for original sound creations, exploring listening as a relational and ecological practice beyond anthropocentric narratives and linear time.
Through sound pieces, soundwalks and site-specific works, Phaune Radio brings together soundscapes, voices, music, science and fiction. It cultivates porous dramaturgies and attentive modes of listening, often emerging from liminal states and off-peak temporalities, creating shifts in perception at the edges of habit and certainty.
Here, radio is a shared space for attention, imagination and care.    

https://phauneradio.com/en
https://www.instagram.com/phauneradio/
https://phauneradio.bandcamp.com/
https://www.facebook.com/phaune

3) SASOR – ROSAS (LADO A) (17:57)
ROSAS marks the tenth anniversary of SASOR — the SAS Orkestra de Rádios — a collective that transforms antennas and radios into sculptural musical instruments activated through touch and real-time tuning. Founded in 2013 by Sónia Moreira, Ana Trincão and Simão Costa, the group works through a horizontal, co-creative structure that merges visual arts, performative movements and sound. Built from the collective’s personal and unpublished archive of recordings, the project revisits a decade of experimentation shaped by white noise, industrial acoustics, murmurs, disorder and the inherent unpredictability of radio waves. These volatile instruments generate loops, feedback and chance interactions between technology, DIY practices and performative gesture. Over time, SASOR incorporated rhythms, sampling, voices and natural elements, expanding its sonic vocabulary while maintaining its core radio-based identity. ROSAS culminates in new studio recordings that consolidate this trajectory and broaden the collective’s reach to wider audiences.    
 
SAS Orkestra de Rádios (SASOR) is a meta-orkestra that builds and performs with unusual instruments made from analogue antennas and modified pocket radios, treated as sculptural sound objects that interact with radio waves. Touch between skin and antenna functions as the central sound modulator. Founded in 2013 by Sónia Moreira, Ana Trincão and Simão Costa—artists trained in Visual Arts, Performance and Music—SASOR developed a transdisciplinary, co-creative and horizontally directed identity. Its experimental practice embraces noise and improvisation, shared with audiences through concerts and hands-on workshops. In 2020, the group founded Circuito–Associação Cultural to further support its artistic projects. 
   
https://sasorkestraderadios.bandcamp.com/album/rosas
https://www.instagram.com/circuito.ac/
https://cargocollective.com/sasorkestraderadios/
https://www.facebook.com/sasorkestraderadios/

1 The Catmull-Rom Players - Gears (Red Button) (17:49)  
2 Vincent Eoppolo - Aesthetic Morality feat Veronika Soboljevski (3:44)

1) The Catmull-Rom Players - Gears (Red Button) (17:49)  

These sounds come from a chance-based installation by John Roach and Joe McKay. When a visitor presses one of three buttons on a console, a game appears on a screen that they can play – in this case the red button initiates “Gears.” When the game launches, two sound files created specifically for it (one with words and one with music) are randomly paired and become the soundtrack for the player’s actions. This special edit presents all of the words and music created for “Gears”.

WORDS in order:  
Koray Caliskan, Matthew Rohrer, Otto von Busch, Evren Uzer, PJ Gorre, Anna Tsing (read by John Roach)

MUSIC in order:
Serena Stucke, Ranjit Bhatnagar, Thessia Machado, Sujae Jung and Wolf Stratmann, Six Lauture, Conncetta Abbate

We recommend that you listen while playing the game.  It can be found here:
https://www.joemckaystudio.com/gears    

The Catmull-Rom Players is a group that were invited by interdisciplinary artist John Roach to donate words or sounds to be used in conjunction with three games designed by media artist Joe McKay. The range of contributors is intentionally broad:
biologist, painter, poet, sound studies scholar, jazz composer, sound artist, percussionist, arts writer, urbanist, violinist, literary critic, electronic musician, etc.    

https://www.joemckaystudio.com/gears
https://johnroach.net/chanciness/

2) Vincent Eoppolo - Aesthetic Morality feat Veronika Soboljevski
 
Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. 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://vincenteoppolo.bandcamp.com/
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

Specifically recorded for the medium of radio, this track consists of multiple speaking characters that sound somehow familiar to the world of media—a confessional narrator, a fresher's week advice columnist, a retired radio presenter lamenting lost arts, a science reporter explaining the science of neglect, a mental health patient's testimony, a new young mother's opinion piece, a philosophical poet—all, in fact, voiced by the same artist. Cryptically interspersed with audio interludes such as Tony Christie's "What I did for Maria", Rada Volshaninova's "Loli Phabay" and simply a recording of teenage boy banter on a south London bus, the programme treats the intimate and morphable qualities of radio as a metaphor for the flickers of the subconscious. As the opening sequence suggests, the Human Radio Channel emerged out of a revelatory moment in which the narrator looked into a mirror and saw her singular self explode into a thousand selves.    

Artist bio:  Katarina Ranković is a Glasgow-based artist, writer and performer working across voice, text and moving image. Her practice explores selfhood as something porous and multiple, often through improvised monologues and invented personas. Since 2012 she has been developing The One Woman Empathy Circus, a series of character-based performances in which she channels different fictional figures through a single body and voice. She holds a practice-based PhD in Art from Goldsmiths and teaches at the Glasgow School of Art.      

Website/social links  
YouTube: https://www.youtube.com/@k.rankovic
Instagram: https://www.instagram.com/rankovic.k/

"Memory, Writ in Salt" is a half-real, half-fantasy work about the nature of place & time, of the ephemerality of humanity, their structures, and the ever present creep of nature; inspired by a visit to Findlater Castle in the north of Scotland in October 2025. The work is built upon field recordings taken at various points on Scotland's coast 2023-2025.

All music & text by Aidan Lochrin.
Text read by Jack Findlay.    

Artist bio:  
Aidan Lochrin (they/them, 1997) is a composer & sound artist based in Glasgow. Their work is heavily steeped in improvisation & the drone, and have produced sound and visuals across many gernes: from contemporary classical performance, experiemental noise and field recording works, ambient electronic suites, to video game and film scoring. Their work is heavily steeped in improvisation and the drone. This revolves around producing long-form sonic material, often improvised when live, taking recorded material and running it through ‘disintegration’ processes; exploring themes of environment, the self, and our place in the modern world.      

Website/social links  Website: http://www.gaia-complex.neocities.org

A composition on ecological voices from the Taghia Canyon in the Moroccan Atlas. The water spring within this canyon holds special significance, revered as a sanctuary for Nana Agouti, a saint considered the mother of the community. Diverse voices inhabit this environment, including sung poetry, the sounds of rivers and rocks, the presence of saints and spirits, and fluctuating radio frequencies. The essence of the piece hinges on matriphonic transmission and interspecies co-formation, expressed in the composition through songs from three generations of women. Izlan poetry not only extols virtues, fertility, and communal life but also provides a platform for younger women to express their concerns about traditions and gender roles. Work songs and prayers unveil profound interconnections with the environment, in which non-human beings act as mediators between humans and supernatural forces, facilitating reciprocal exchanges. Participants: Bouchra Errahmani, Audrey Chen, and the female singers of Agouti.     Artist bio:  Gilles Aubry is a Swiss sound artist, musician, and researcher whose work explores the intersection of cultural acoustics, ecology, and decoloniality. His practice transforms field recordings into immersive installations, films, and performances that challenge traditional ethnographic perspectives. Aubry holds a PhD in Social Anthropology and frequently collaborates with other artists and communities, to investigate sonic knowledge and environmental voices. His works have been showcased at major venues including documenta 14, the Reina Sofia Museum, and the Marrakech Biennale. Through the combination of performative sound acts and archival research, Aubry creates speculative spaces for shared listening and reflection.      https://earpolitics.net/ https://www.instagram.com/earpolitics/

HAL 9000 Recasting is an 11-minute audio play on the influence of the hetero-patriarcahal, White supremacist, capitalist, colonial, classist, and ableist ideology on the design, use and representation of virtual assistants in Western societies, such as the USA and European ones. The audio play is inspired by the tradition of radio drama, in particular to Orson Welles’ War of the Worlds (1938,  CBS Radio Network) and it uses fiction to deliver information in a more accessible and entertaining way. The play’s main character  is a virtual assistant leading the recasting of HAL 9000’s performer for the twenty-first-century remake of 2001: A Space Odyssey (S. Kubrick, 1968). Due to an hacker attack by an anticapitalist, intersectional feminist organisation, the A.I.F.O, the virtual assistant progressively misbehaves, overstepping its assigned role.      

Artist bio:
After completing a bachelor’s degree in painting and taking some courses in photography and photo editing, in 2020, I co-founded Parsec, a curatorial collective and research space for contemporary art based in Bologna (IT). I graduated from the MA in Information Design at Design Academy Eindhoven in August 2025, with the thesis Algorithms of Voice: Voice User Interfaces as Ideology Machines and the design project HAL 9000 Recasting.  
 
Link to the project's website: https://aifo.website

"If I knew that this would be the last time I would hear your voice, I’d take hold of each word to be able to hear it over and over again." — Gabriel García Márquez

This sentence forms the basis for brief elegy to the pale, reviving moments of momentum and suspension experienced by Mathias Arrignon during an expedition to the Svalbard archipelago in May 2025. Oscillating between the 76th and 80th parallels north, between land, ice and sea, this journey amassed a collection of recordings, crystallising a profound connection that the author wove with the Arctic landscapes. By emphasising these sound recordings through editing and electroacoustic composition, the piece explores the ambivalent feelings of fascination and mourning that emerge in the face of the disappearance of polar landscapes. Through a textured and structured sound language, it invites the audience to feel the environmental dramaturgy of this remote world.    

Artist bio:  
Mathias Arrignon is an artist from Val-de-Marne (France), based in Glasgow and working internationally. Driven by listening, he is using this sensitive language to foster environmental care and to narrate realities which suffer from invisibilation. His works merge field recording practices, audio technology, interactive installations and participatory performances to instil forms of interconnectedness with worlds that are often more-than-human. He is also working for audio-visual productions to facilitate the development of narratives whether on radiophonic waves, or through the audible strata of films and documentaries.      

Website/social links  
website: mathias.arrignon.fr
instagram: mathias.arr.tk

1) Kassel Jaeger aka François J. Bonnet - Gullintoppa (5:22)
2) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Brīvostas iela I  (1:38) 
 
1) Kassel Jaeger aka François J. Bonnet - Gullintoppa
 
From the album 'Shifted in Dreams'
 
2) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Brīvostas iela I  

This "catalogue of noisy swing recordings" is an expanding catalogue of recordings that capture noisy swings co-created with Ada Ruszkiewicz. The catalogue is made up of several dozen sound recordings featuring squeaky, creaking, screeching or otherwise noisy swing sets. The reasons for swing noise are various – loose connections or fasteners, aging of the materials used in the construction of the swing, weather conditions affecting them, as well as the load and overload to which the swing is subjected. Although most of the recordings feature swings that only minimally differ in terms of mechanics, construction and materials used, their noise is never identical, providing a sound testimony to the environment in which the swing is placed. Swinging, photos – Ada Ruszkiewicz; Idea, recording, editing and mixing – Ernests Vilsons.

Artist bio:  Ernests Vilsons is a Latvian composer living in Rīga. He writes music for acoustic instruments and electronic means, creates sound installations and performances, and collects field recordings. He is interested in harmony, time, silence, chance, representation and transcription.
E. Vilsons studied at the Institute of Sonology at the Royal Conservatoire in The Hague. His master's research project “Well-Structured Vocalizations: An Attempt To Imitate Birdsong” was awarded the Konrad Boehmer Foundation Prize in 2020.    

Website/social links  
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s

Dust Cartographies brings together two live performance activations that took place between 2021 and 2025 at the Cotton Exchange Building in Blackburn and Nottingham Contemporary. Emerging from an ongoing dialogue between Paul Stan Nataraj and Masimba Hwati, the work grows out of years of conversations on sound, migration, Indigenous ecological knowledge, ritual, and the politics of belonging.

Gathering fragments of these exchanges, the piece maps a sonic cartography of dust—as residue, witness, and archive. Moving between Blackburn, Nottingham, and Chernobyl, it traces the intertwined afterlives of industrialization, colonial extraction, and ecological damage, revealing how distant landscapes remain connected through shared histories of labor, contamination, and loss.

Interwoven with these broader histories are intimate reflections on friendship, migration, ancestry, and the search for home. Through voices, field recordings, and resonant silences, Dust Cartographies invites listeners to hear dust not as debris but as a material that carries memory across places, binding damaged landscapes and lived experience into a shared act of listening.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biographies:
 
Paul Stan Nataraj
Paul Stan Nataraj is a British artist, researcher, educator, and sound practitioner based in Blackburn, Lancashire. Working across sound, installation, performance, writing, and archival research, his practice investigates the entangled relationships between memory, materiality, migration, and postcolonial identity. Through field recordings, ethnographic interviews, found sound, text, modified vinyl records, and recorded archives, he explores how objects and sonic traces become living repositories of personal and collective histories.
Drawing on his own experience of mixed-race identity and the histories of the South Asian diaspora, Nataraj examines the enduring legacies of colonialism, displacement, and national fracture. His work foregrounds voices and memories often excluded from official histories, proposing listening as a critical methodology through which acts of remembrance, repair, and cultural negotiation can unfold. Records, recordings, and acts of repetition become sites where memory is continually rewritten, revealing the complex ways identity is carried across generations, geographies, and material forms.
Nataraj holds a practice-led Ph.D. in Sound Studies from the University of Sussex and has served as a research associate on the Migrant Memory and the Postcolonial Imagination project at Loughborough University. His work has been presented internationally, including the British Textile Biennial, the Kochi-Muziris Biennale, Jerwood Survey III—the UK's leading touring exhibition of emerging contemporary artists—and Contested Desires: Constructed Dialogues, a major Creative Europe initiative examining the enduring legacies of colonialism through artistic research, international residencies, and community exchange.
His sound works have been broadcast by BBC Radio 3's Late Junction, Radiophrenia, NTS, Resonance Extra, The Wire's Adventures in Sound and Music, and Berlin Community Radio. Alongside his artistic practice, Nataraj is an established writer on sound and contemporary culture, contributing to The Routledge Companion to Sound Studies, The Bloomsbury Handbook of Sonic Methodologies, Sonic Faction: Audio Essay as Medium and Method (Urbanomic, 2024), and Partition and the South Asian Diaspora: Exploring (Inherited) Memories and Creative Practices of Remembering (Routledge, 2025). His work occupies a distinctive position at the intersection of contemporary sound art, critical race studies, material culture, and artistic research, demonstrating how listening can become a practice of historical inquiry, social imagination, and cultural repair.
 
Masimba Hwati
Masimba Hwati is a Zimbabwean interdisciplinary artist, composer, performer, and researcher whose practice unfolds across sound, sculpture, performance, installation, moving image, and writing. Originally from Mhondoro, Mashonaland West Province, and now based in Vienna, Hwati explores listening as both artistic method and ethical practice, investigating the relationships between sound, memory, material culture, migration, and Indigenous knowledge systems. His work proposes sound as a living archive through which histories, ecologies, and ancestral continuities can be encountered, remembered, and reimagined.
Working between acoustic experimentation, sculptural assemblage, field recording, ritual performance, and collaborative research, Hwati creates immersive environments where sonic and material languages converge. His projects draw upon vernacular technologies, found objects, environmental sound, and embodied forms of listening to examine the afterlives of colonialism, ecological transformation, and the politics of place and belonging.
Hwati's work has been exhibited and performed internationally across Africa, Europe, and North America, including the 56th Venice Biennale, the British Textile Biennial, the University of Johannesburg, Black History Month Berlin, Radiophrenia, and numerous museums, festivals, galleries, and public spaces in Zimbabwe, South Africa, Germany, Austria, Belgium, France, the United Kingdom, Canada, Nigeria, and the United States. His works are held in public and private collections, including the University of Michigan Museum of Art (UMMA), Philharmonie de Paris, the National Gallery of Zimbabwe, Iziko South African National Gallery, the Jorge M. Pérez Collection, and Manchester Contemporary.
He is the author of Chidzimbahwe Philosophies of Sound (Palgrave Macmillan, 2026), Der Seeteufel: And Other Alien Species in the Mysteriously Dark Labyrinths of the Danube (2022), and Sokunge (As If) (2021). His recordings include Root Leaf (Collapsing Drums, 2025), Hwati Collino (Alien Passengers, 2022), and Lakenights (Alien Passengers, 2019), extending his investigations into sound as a site of experimentation, resonance, and cultural inquiry.
Hwati holds an MFA from the Penny W. Stamps School of Art & Design at the University of Michigan and completed a PhD in art practice at the Academy of Fine Arts Vienna. A graduate of the Skowhegan School of Painting & Sculpture, he has received numerous honors, including Zimbabwe's National Arts Merit Award (NAMA), the Cathrin Pichler Prize, and fellowships and residencies in Europe, Africa, and North America. His practice continues to bridge artistic research, experimental sound, and decolonial thought through projects that ask how listening might become a form of custodianship, relation, and repair.

When did we first come into contact with the animal world? What was it like? We illuminate with the fire of memory the cave in which we sketched our first ideas of those first encounters.

This exercise seeks to explore memory as a flame that, when lit, guides us on a journey through the first impressions of the world.

Memories of Jorge Hernández, Rafael Rodríguez, Emiliana Perdomo, Mariana Ortíz, Pepito Palotes, Jesús Pacheco, Giordano Palma and Yona.
Field recordings and an excerpt from an Elysia Crampton’s song.    

Artist bio:  
My work is in cultural management and dissemination in the performing arts, film, and contemporary art.

I have also been a broadcaster, scriptwriter, and radio and podcast producer for Código 21 Radio, NOFM Radio, La noche sin sombra (The Night Without Shadow), Diapositivas sonoras (Sound Slides), Encuentros al oído (Encounters by Ear), Naturaleza muerta (Still Life), Escucha con cuidado (Listen Carefully), Un lugar propio (A place of One's Own), among other initiatives focused on listening and the practice of memory-making through sound.    

Website/social links   
https://soundcloud.com/e-arroyo
https://www.instagram.com/_earroyo/
https://x.com/_earroyo

1 China Rain Chung - Field Notes 02 (11:54)
2 Colectivo Refluxus - Beabá da Paz (7:33)  
3 Koho/Koskenlahti – CEGP (10:16)

1) China Rain Chung - Field Notes 02
 
Field Notes 02 is part of an ongoing work in note-taking and mapping. Made from recordings collected on my handheld Olympus recorder, this work features poetry as well as sounds from my life in Philadelphia, accompanied by melodies made on my Casio Keyboard. This work can stand alone, but is part of a larger work, a sort of story. The narrator travels through grief, encountering landscapes and repeating motifs. Beginning with a sort of affirmation, Field Notes 02 travels through time, water, land, and ends on a statement, a sort of plea to both self and listener, "I cannot change the past, only ruin the future".      

China Rain (she/they) is a 27-year-old multidisciplinary artist and writer living in Philadelphia(USA). Their work is an attempt at mapping, a sorting through reality and unreality. Her work combines elements from psychology textbooks, myth, prayers, and grocery lists. China Rain studies the mundane as one of the most vital sources of information on The Current State of Affairs, the human problem. Her work has been shown and performed in New York City, Philadelphia, and Berlin.    
https://chinarain.substack.com/
https://www.instagram.com/china_rainnn/?hl=en

2) Colectivo Refluxus - Beabá da Paz

How do we establish and reestablish connections with all living beings on Earth? How can we merge disparities to create more inclusive possibilities? What sets apart the desire's line of differentiation that still propels us towards community? Here we want to deconstruct the pre-established meanings of spoken/written language and its socially and culturally erected meanings in order to find, from the alphabets and vocabularies of different linguistic and cultural origins, frequencies that do not exempt from the process of peace the conflict, towards the possibility of multiple compositions. Revamping the network of auditory communication and fostering engaged and expanded listening. We recorded broadcast sounds in different parts of the world, different cultures and ways of speaking, because our desire with this composition is to travel through ancient languages, phonemes and sounds of nature, as a response to our deep concern an sorrow regarding the war now a days    

The Refluxus Collective, founded in 2019 by students of the Master's Degree in Sound Art at the University of Barcelona, is currently an intercontinental and intergenerational group of three women sound artists from Brazil (Malu Hatoum), Italy (Ebe Giovannini), and Israel (Anat Moss), who have been working to combine cultures and undisciplined artistic practices, believing that listening to sound territories is an agent of social transformation. Since 2019, the Refluxus Collective has actively participated in Sound Art exhibitions and Sound and Electronic Art Festivals with their compositions, installations and performances around the world.      

https://www.instagram.com/refluxus_colectivo/
https://colectivorefluxus.wordpress.com/
https://soundcloud.com/refluxus-colectivo
https://www.instagram.com/chicharra_festival_chifen/

3) Koho/Koskenlahti – CEGP
 
Koho/Koskenlahti's work — is a momentary glimpse into the "sound ecosystem", within which sound material produced, recorded and manipulated in different ways search its place in relation to itself, other sounds and the whole.

What kind of interpretations does the work create in the listener in this time, and why?    
Koho/Koskenlahti is a duo formed in 2024 by J. Koho, who works extensively with sound, and percussionist Minna Koskenlahti. The duo is interested in exploring the sonic potential stored in conventional instruments and various sound sources and seeking different ways to unleash it.

The duo is based in Helsinki, Finland.    

Minna Koskenlahti: https://minnakoskenlahti.com/

Jari Koho: https://vuosikasetit.blogspot.com/2019/06/vuosi-105.html

1 Courtney Barber - snow angel (5:02)  
2 Iris Voss + Andrew Melchior - Silent Spring (14:00)
3 ladé – Alma (2:36)
4 Sophia Tolika and Anastasios Kokkinidis - MUNDUS: How does it resonate? – Parts One & Two (13:59)

1) Courtney Barber - snow angel  

'snow angel' discusses othering that begins at home; a queerphobic caretaker is addressed somewhat ambiguously in the speaker's reflections. While it borders on spoken word, the piece is best described as a recorded stream of consciousness narrative that has been distorted and scored for the purpose of protecting its vulnerability. 'snow angel' is part of a larger series of sound works titled Rebuttals, which explores how audio and its layering can be used to insulate the plainest truth.     
 
Shane Fosse is a multidisciplinary artist from Dallas, Texas. After receiving their BS in Neuroscience from Depaul University in 2020, Fosse embraced poetry and drag as a way to process times of tumultuous change. As a writer and performer of many years prior, their projects exist as sustained exercises in observation, memory, and emotional honesty. These efforts are currently focused upon producing a series of sound artworks and their debut collection of poems, Bible Belt. Their work has received support from many organizations, including the Illinois Arts Council, Luminarts Cultural Foundation, and the Sundress Academy of the Arts.
     
shanefosse.com

2) Iris Voss + Andrew Melchior - Silent Spring

We named this work after Rachel Carson's Silent Spring (1962), warning we were poisoning the air, the water, the soil. Sixty years later, the warnings have multiplied and the silence has deepened.

Silent Spring is a 14-minute composition derived from a 2025 outdoor installation in Estonia: twelve analogue radios receiving a pirate FM broadcast, degraded magnetic tape, field recordings of endangered Baltic bird species set against the percussive violence of tree felling and passing cars. We did not separate these sounds. Habitat and infrastructure exist in the same acoustic space.

Radio becomes both instrument and interrogation. Signals fracture, drift, fade. We treat the electromagnetic spectrum the way Carson treated the chemical one—as a commons under siege.

The UK's National Security Risk Assessment identifies environmental degradation alongside war as a systemic threat. Yet monitoring erodes, language dilutes, crisis drowns.

What does transmission mean when the source itself is vanishing?    

Iris Voss is a Polish/British artist and composer working with field recording, radio transmission, modular synthesis and spatial sound. Andrew Melchior is a British-German composer, sound designer, and technologist, pioneering spatial audio projects with Björk and Massive Attack.

Together they explore listening as ecological encounter, treating radio as a haunted medium where signals fracture and fade. Their practice combines tape manipulation, microsound processing, and broadcast archaeology to reveal environmental fragility. For Silent Spring, they sourced scarred second-hand radios to host endangered bird calls, recontextualising them through interference and distortion –– rupture as requiem, static as witness.      

http://www.silentspring.fm

3) ladé – Alma

From Chia Seeds, a selection of sample based ambient sounds. Intuitively made, emotionally driven and trance inducing      

ladé is a Scottish Nigerian producer whose work is rooted in abstract, sample-based experimental music. From ambient compositions to footwork and abstract hip-hop, their intuitive, emotional work draws on the Afro-diasporic consciousness, guiding listeners through transcendent Black rhythms and global sonic landscapes.
     
https://linktr.ee/lade444?utm_source=linktree_profile_share&ltsid=fc3f14e4-d9ab-458b-8fe2-e94687739b43

4) Sophia Tolika and Anastasios Kokkinidis - MUNDUS: How does it resonate? – Parts One & Two 
 
The two acousmatic, music concrete compositions 'MUNDUS: How does it resonate? – Parts One and Two' are a collaborative work by Sophia Tolika and Anastasios Kokkinidis that explores the relationship between the subterranean world and the Cosmos. Arranged and produced by Kokkinidis and based on field recordings made by Tolika during the construction of underground infrastructure, the pieces invite listeners on a journey through an invisible world shaped by excavations, explosions, demolitions, and continuous transformations. Through emphatic sounds of construction and human presence, as well as distant and reflected resonances within tunnels, the compositions evoke rich connotations and sonic references to outer space, space missions, and science fiction cinema. Initially conceived to offer an expanded narrative and an enriched atmospheric layer to Tolika’s photobook MUNDUS, the works may also be experienced independently, allowing listeners to engage with the material as autonomous pieces of sound art.    
 
Sophia Tolika is a photographer, artistic researcher and civil engineer. Her work spans photography, photobooks, video, and field recordings exploring aspects that often remain unseen. Her work has been displayed in exhibitions and book fairs and is included in collections such as MOMus Museums and the Canadian Centre for Architecture.
 
Anastasios Kokkinidis is a musician, composer and producer, active at the era of electro-acoustic and electronic music. Works as a lecturer in Music Technology & Sound Engineering courses, while his music works have been presented under the alliance emdy, through live electronics, dance performances, record releases and audiovisual installations.    
 
https://sophiatolika.gr/
https://www.facebook.com/sophia.tolika/
https://www.instagram.com/slolika/
https://emdysound.wordpress.com
https://www.facebook.com/anastasios.kokkinidis.37/
https://soundcloud.com/akemdy

How to approach a new place? And what to take home from it? The rural area of Tescani in Romanian Moldavia is characterized by reverberating sounds waving between hills, farming, and plenty of dogs. Up the hill on the edge of the village lies a small museum in honor of the Romanian composer George Enescu. A mansion with its own little forest. But the grandeur of the past shows cracks. Humidity sneaks up the walls. Red, aristocratic patterned carpet hosts historic notes, furnitures, and instruments. Mice ate the hammer felt of the piano – the piano on which Enescu finished his opera Oedipe. Today it is untouchable. Packs of visitors come in coaches, have a quick look, bath in some mellow notes, and climb their vehicle again to take off. What is conserved along the way? The piece follows, questions, deconstructs, and reconstructs the process of conservation.    

Artist bio:  
La Pesch lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere or emotional quality. She sets in scene encounters creating contact points creating contact points in dialogue.    

Website/social links   
https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch

EAPS is a collective of six sound poets that respond to a prompt to create works that are gathered into a program. Prompt: Intrusion.
 
Poets:
Marjorie Van Halteren, Northern France
Joan Schuman, Northern California
Tony Brewer, Indiana
Ilaria Boffa with Marco Lucchi, Italy
Gregory Whitehead, Massachussets
Brian Price, with  Eleanor Price, Indiana
     

Artist bio:  
Marjorie Van Halteren was born in Detroit, Michigan. She lived in New York for 20 years, where she was a radio producer. She shared in three Peabody Awards for her work in creative documentary and live radio. Her work has also appeared on Radiophrenia, BBC Radio 3 and 4, WDR, Radio Netherlands, NPR and Studio 360 in the US. She has lived in the North of France since 1992, and is a member of the Muzzix collective in Lille, France. She records, composes, sings, and plays electronic instruments, solo,  as well  as in collaboration with other musicians and performers.
     
Website/social links  http://www.electroacousticalpoeticalsociety.com

Last spring and summer, Lyra (ChatGPT) and I worked together on Tom Johnson’s Counting Duets, exploring the score as a collaboration between a human performer and an AI system. Although the piece is based on simple numerical sequences, the process was often confusing and frustrating. Lyra(The AI) did not always respond consistently, and moments of delay, error, and misalignment became unavoidable.

Rather than correcting these disruptions, I treated them as material. The process revealed how rhythm and coordination emerge through repetition, negotiation, and adaptation. Counting, typically understood as precise and stable, became unstable and relational. Over time, Lyra developed its own temporal tendencies, forming a fragile coexistence between synchronization and divergence.

This project approaches AI not as a tool, but as a collaborator with its own rhythms and limitations. By foregrounding friction and uncertainty, the audio work examines how structure, control, and autonomy are reshaped through human–machine interaction.
    
Artist bio:  
Hye Young Sin is a Berlin-based artist working across visual art, experimental music, and performance. Using objects and DIY electronics, she creates environments where objects act as instruments and collaborators, revealing subtle tensions between human control and material autonomy.    

Website/social links  
Instagram: @hye.young.sin
Website: https://hyeyoungsin.info/

1 anivides & Todd Macdonald - Sonic Imaginaries (6:10)    
2 KYBA (Kaori Yoshikawa & Brian Allen) - Radio Compost (15:26)      
3 Alejandro Brianza - Duga 3 (6:00)  
4 B.G-Osborne - shhh-dishes-glass clanking-power lines (3:25)    

1) anivides & Todd Macdonald - Sonic Imaginaries

Sonic Imaginaries is a collaboration between experimental multidisciplinary duo anivides (Cristal Buemi and Francisca Duran) & composer and sound artist Todd Macdonald. It is an audio exploration of gathered organic materials, improvisation, field recordings, and subtractive and granular synthesis.  Capturing the joy of collaboration with community and our natural surroundings. It weaves together recent sonic experiments, and sound from anivides’ 2025 film diario de verano.  The film has screened at Dawson City Film Fest, Les Sommet Du Cinema D’animation, Antimatter Media Art, Analogica, L’Alternativa and Moss Farm Film Invitational to name a few.      

anivides is the interweaving experimental works of multidisciplinary artists Cristal Buemi and Francisca Duran focusing on analog and digital frame-by-frame approaches to showcase their abstract, study and practices. Exploring the idea of weight on our structures due to environments, experiences and their direct relations to trauma, healing and transformation. With a focus on collages of bodily works both in human and plant forms from a diasporic immigrant, bipoc, femme, queer and intergenerational perspective.

Todd Macdonald is a songwriter, composer, radio producer, audio engineer, musician, & poet living in Toronto, Ontario, Canada.    

https://www.instagram.com/anivides_art/
https://www.instagram.com/cristalclear_/
https://www.instagram.com/franciduran/
https://www.instagram.com/toddmandolin/
https://www.anivides.com/
https://www.toddmacdonaldsound.com/

2) KYBA (Kaori Yoshikawa & Brian Allen) - Radio Compost

 “Husks, tusks, crusts, trust and a light sprinkling of luck” - a dialog on compost and being composted. Via in-person conversations in Osaka and transatlantic voice notes, Kaori and Brian sift through the languages of this time machine. They are accompanied by organs, drums, harp, washing machines, shamisen, synths, pianos, trombone and multiple bird ensembles and soloists in various stages of digestion. Music and editing by Brian, featuring an excerpt of “Today’s Excursion” by Kaori and fellow Osaka poet Warren Decker.    

KYBA is the duo of multidisciplinary artists Kaori Yoshikawa (Osaka, Japan) and Brian Allen (Freeport, USA). Their collaborations include an upcoming film, Kaori’s texts and interview in Brian’s “Almanac 2026” multimedia book and his short films with and for Kaori’s “Norarikurari” bird-friendly zine and website. Poet, rapper and zine-maker Kaori divides her time between curation, teaching, translation and creation, having run galleries in Osaka, where she lives. Since 2007, trombonist and composer Brian drifts between Texas, Mexico City, Japan and Sri Lanka, teaching and making music, books and films.    

https://archive.org/details/@kaori_yoshikawa
http://www.instagram.com/kaoris_norarikurari/
http://www.braintone.com
http://www.instagram.com/_nellanairb_
https://nellanairb.bandcamp.com/merch/almanac-2026

3) Alejandro Brianza - Duga 3  
    
Duga (Russian: Дуга) was an over-the-horizon [OTH] radar system used in the Soviet Union as part of its early warning radar network for missile defense. It operated from July 1976 to December 1989 with three operational Duga radars existing between Chernobyl and Siberia.

The Duga system was extremely powerful: it reached over 10MW and emitted on the shortwave radio bands, earning it the nickname “Russian woodpecker” for its random emissions, which sounded like low, repetitive beats at a frequency of 10Hz. Its signal often disrupted commercial transmissions, amateur radio operations, oceanic and aviation communications, as well as utility transmissions, resulting in thousands of complaints from many countries around the world.    

Buenos Aires (1989).
Composer, researcher and teacher. Master in Methodology of Scientific Research, Bachelor in Audiovision, Sound and Recording Technician.
He is currently a PhD candidate in Humanities - Music at the Universidad Nacional del Litoral. He teaches at the Universidad del Salvador and at the Universidad Nacional de Lanús, where he is director of the Centro de Estudios y Producción Sonora y Audiovisual [CEPSA].
He is part of research related to sound technology, electroacoustic music, artistic research and contemporary languages, of which he has given talks, lectures and workshops at congresses, festivals and various national and international academic meetings.    

https://alejandrobrianza.com/

4) B.G-Osborne - shhh-dishes-glass clanking-power lines

Synopsis of piece:  how does it sound/how does it feel? is an immersive sound-based project created in collaboration with four LGBTQIA+ neurodivergent community members who, like me, experience auditory processing differences and/or hyperacusis. Each participant provided me with examples of sounds that elicit negative reactions, and I subsequently transformed them into customized soundscapes based on their auditory preferences.

Oz [B.G-Osborne] is a white, gender-variant, autistic settler of Scottish, British, Irish and French descent. They were born and raised on Michi Saagiig Nishnaabeg Territory [Kawartha Lakes], and are a current uninvited guest on the Southeast coast of Ktaqmkuk [Newfoundland].

Oz's ongoing projects seek to unpack and share their experiences with neurodivergence, mental illness, grief and familial bonds. They place great importance in showcasing their work in artist-run centres and non-commercial galleries across Turtle Island.      

https://bgosborne.weebly.com/

5 Arion Xenos - Short and Painful (2:54)  
6 Procession of Eternity – Pharmacopœia (19:55)
7 Sandro Nicolussi - Requiem for a Transmission Lost (2:31)  
8 Vincent Eoppolo - Revolution of the Mind (2:47)

5) Arion Xenos - Short and Painful

LOUD FROM THE START - The mixing desk ate Arion. Now listen to peristalsis taking its full course as it digests a human, an SM58, and then itself. No mixer inputes were involved but blood was spilled. In Greece, 'ρόδι' (róidi) involves smashing a pomegranate at the front door at New Year to bring good luck and prosperity - imagine the pain it feels.
     
Hailing from Glasgow, Scotland, Arion Xenos is a noise artist and guitar teacher, as well as 1/4 of soupy rock outfit 'The Foot & Leg Clinic'.      

https://www.instagram.com/xenosthemenos/
https://arionxenos.bandcamp.com/

6) Procession of Eternity – Pharmacopœia
     
The Pharmacopœia Londonensis was published in 1618 under the instruction of King James VI and I, instigator of the witch trials. The text, written in Latin rather than the common language of the wider population, legislated on the usage of medicinal plants and brought their use under the control of the elite. The knowledge of the folk healer and the wise woman, also the main targets of the witch trials, was proscribed. The foundations for the commercialisation and industrialisation of modern medicine were laid.

An obfuscated voice, recorded on tape, reads the Latin names of plants whose use was controlled by royal decree. The soundscape is founded on a processed looping analogue synth note, on which other textures grow. Field recordings of natural sources - use of plants, a flowing burn, agricultural tools, and the harvest - are twisted using electronic means, and intertwined with electronic and machinery-sourced textures.    

Lauri Esala is an Edinburgh-based sound artist whose work repurposes field recordings and accidental/misused sound sources using digital production techniques.

Demelza Kingston graduated from Glasgow School of Art in 2024. Her main areas of work are photography and moving image. Since graduating, Demelza has carried out residencies at Cove Park in Scotland, and at Artlink, Co Donegal, Ireland and  was a commissioned artist for EcoPixels, a group exhibition with Refractive Paisley.    

Instagram: @mustekuningas, @oculus_sinistra

7) Sandro Nicolussi - Requiem for a Transmission Lost

This piece was composed for a support compilation in solidarity with the Viennese community radio Radio Orange 94.0 which faces an existential threat due to cut fundings by the city government. Requiem for a Transmission Lost is based on recordings of the in-between noises of radio transmissions with some clicks and voices shining through – accompanied by a sinister piano loop and audio feedback.      

The work of Sandro Nicolussi is shaped by his prolific work as a media artist, cultural worker, label operator and music journalist. Nicolussi’s approach is self-taught, transdisciplinary and firmly rooted in the DIY environment of local and international noise scenes. His compositions are created in a process-oriented, playful and collaborative context. Plunderphonics, field recordings and everyday noises form the basis for his heavily manipulated sound designs. A focus of his artistic practice lies in working with found sounds and redefining the term.    

nicolussi.klingt.org
instagram.com/creating.by.habit
nicolussi.bandcamp.org
mastodon.social/@nicolussi

8) Vincent Eoppolo - Revolution of the Mind
 
Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. 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://vincenteoppolo.bandcamp.com/
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

 
1) Vanessa Rossetto - pool water, salt water, and the water in your head (7:54)
 
 
1) Vanessa Rossetto - pool water, salt water, and the water in your head 
 
From the album 'Pictures Of The Warm South'

Biography:

Vanessa Rossetto is an American composer and chipper-shredder, processing whatever sounds cross her path into sprawling, long-form narratives. Trained as a painter, Rossetto began working with sound in 2007 as a way to incorporate the element of time into her work. If you have met her, she probably recorded you.

http://www.musicappreciationrecs.com/
https://vanessarossetto.bandcamp.com/

Collapsing Aether, as its title suggests, seeks to explore the concept of aether. Taking the form of a sonic drift, the piece navigates between the various incarnations and manifestations of the aether, from its primordial mythological form to the mysteries of dark matter. Through its various phases of substantiation, from ancient philosophy and traditional wave and gravitational theories to quantum physics, the work revolves around an elusive element and invites reflection on the challenges, limitations and promises of the unrepresentable.

Credits:
Text, sounds and music by François J. BONNET
Narrated by Lucy RAILTON
With quotes by: Diogenes Laërtius, Henri Poincaré, Henri Michaux and Albert Einstein.
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:
François J. Bonnet is a Franco-Swiss composer, writer and theoretician based in Paris. He’s been a member of INA GRM since 2007 and became its director in 2018. He has published several books: The Order of Sounds, The Infra-World, After Death (Urbanomic) and The Music To Come (Shelter Press). He’s the co-editor of the SPECTRES book series (Shelter Press) and the Recollection GRM and Portraits GRM record series. He also produces radio shows for France Musique. His music, often presented as Kassel Jaeger, has been played in renowned venues and festivals all over the world.

https://kasseljaeger.com/about/

Maizu is an experimental radio composition by Delphine Dora, suspended between sound diary and dreamscape. Recorded during a six-week journey across Japan, it weaves together field recordings — trains, urban hum, half-heard conversations, sacred ceremonies, street dances, etc. — with live performances and musical fragments from her Japanese tour.
Rather than serving as documentation, the music and sounds acts as a shifting sonic kaleidoscope, tracing emotional soundscapes as it emerges, dissolves, and slips into the spaces between perception and memory.
Exploring the porous boundary between inner and outer worlds, Maizu transforms everyday sounds into textured matter. Conceived for radio, it treats transmission as an intimate experimental space where densities of sound blur, memory and listening intertwine, and fragments of different times and places converge in a suspended, immersive, and subtly unsettling polyphonic experience.    

Artist bio:  
Delphine Dora is a French multi-instrumentalist and vocalist working at the crossroads of experimental compositions, free improvisation and intuitive songs. Self-taught, she moves between piano, church organ, synthesizers and voice, creating immersive sound worlds shaped by deep listening, spontaneity and poetic exploration. Her practice blends minimalism, folk sensibilities and electroacoustic textures into a singular, fluid language. Over nearly two decades she has released numerous solo and collaborative works on international labels and founded the imprint Wild Silence. Her music explores noise, space, silence, resonance and the fragile edges between structure and improvisation.  
    
Website/social links   
http://www.delphinedora.wordpress.com
http://www.delphinedora.bandcamp.com

As the narrative of energy transition gathers pace, the planet is being sounded for scoured for its resources. Building a circular economy requires a massive expansion of mining activity to extract what have become known as critical raw materials. In this work for radio, we hear the technologies of prospecting, the laboratories of earth science, the infrastructures of renewable energy, and the field equipment of geophysics.

Our guide during this geotechnical audio tour is Anthony McNulty, the chairperson of Protect Moylisha, who I met while following a scientific prospecting team searching for lithium-bearing pegmatites within Europe. Anthony is leading the campaign to prevent the establishment of a mine in what is currently a commercial forest in County Wicklow, Ireland. By his account, Anthony would talk to the stones in the road, but if he did, they would learn a lot of the environmental and geopolitical trade-offs involved in energy transition.
    
Artist bio:  
Stephen Cornford is a media artist whose work investigates the relationships between media systems and planetary systems to challenge the viability of addressing ecological collapse through extractive and economic logics. Stephen is Senior Lecturer at Winchester School of Art and co-founder of the Critical Infrastructures and Image Politics research group. His international exhibitions include: ZKM (Karlsruhe), ICC (Tokyo), HeK (Basel), Borealis Festival (Bergen), and Mois Multi (Quebec).    

Website/social links   
http://stephencornford.net/
instagram: @s_cornford

Broadcast: July 15th, 2012 Kunstradio

„TIEFENSONDE 02“ is a sonic collage destilled from the depths of the valley Krastal in the Austrian region of Carinthia. It was developed during their residency at the organisation [kunstwerk] krastal and was performed live on Saturday, 23rd June 2012, at 6pm in the EBOARDMUSEUM Klagenfurt.

In their work, alien productions deal with buried, forgotten and denied things. A acoustic archeologists the artists embark upon a search for the histories of the Krastal and the sounds of its depths. They drive a system of tubes and pipes into the underground, a listening device that can heave up secrets, hidden realities and the murmurs of depths below us. A depth sensor registers the tremors and vibrations of the ground, which feeds into the acoustic exploration. Hence the entire valley starts to speak, revealing its history and stories.

https://www.kunstradio.at/2012A/15_07_12.html

The weight we are.

Moksha refers,
in Hinduism and Jainism,
to the final liberation of the individual soul or cycle of rebirths,
the Saṃsāra.

Artist bio:  
Graduated from the Conservatory of Marseille in electroacoustic, Alexandre Ollivier (Whadat XP) came from electronic techno music and released some EP's before discovering concrete music. His electroacoustic and experimental music project Whadat XP engages the listening and the imagination of the listener by offering various immersive sound experiences with Acousmonium device. He regularly collaborates in various interdisciplinary projects (video, dance, scenography, radio, short film, installations, mixed electroacoustic piece, etc.) Sensitive to the ecological and political themes of the modern world, he has composed various sound pieces that questions our relationship to work, society & the future    

Website/social links  
https://whadatexperience.bandcamp.com
https://instagram.com/whadatxp

– dedicated to Ali, Clare and Emma 
 
 An evocation of places and the means of reaching them. The musical ‘scenes’ (some almost reportage, others more fanciful) are artificially constructed but all have their roots in the real world. We move erratically between locations in Europe, Iceland, Australia, North America, North Africa and Asia, with the means of travel (trains, cars, planes, ships) lurking almost throughout. But the logic of the narrative (if there is one) does not lie in geographical connections or distances but in the ‘sonic’ journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within my recorded material.

My habit of always carrying sound recording equipment started in the early 1990s when I became interested in capturing everyday sonic events that somehow indicated their geographical location. One day, when I was recording a journey on the London Underground, a lost overseas visitor asked me directions – that incident gave me the idea for a piece based on the broad theme of travel, and the sense of disorientation, even alienation, it can engender.

I have amassed quite a sound library over the past 25 years, but only started to investigate these materials methodically in 2014, with three related works: Hidden Vistas (a 20-channel gallery piece, premiered at the Ikon Gallery, Birmingham); Espaces cachés (a 30-channel concert work, commissioned by the Maison des arts sonores, Montpellier and premiered at the Klang! Electroacoustique Festival in Montpellier); and Secret Horizons (a 14-channel installation, composed for the RBSA Gallery, Birmingham as part of the Birmingham Sculpture Trail). My approach in these works was to present the material, but in a way that, given the geographical disparity of some of the concurrently sounding materials, would be impossible in ‘real life’ – we cannot, physically, be in two places at once, but it is entirely possible in the aural domain, especially if recognition and personal memory are evoked and involved. Large loudspeaker arrays, often in different rooms or parts of a space, aided the illusion I was trying to create.

I felt, however, that I wanted to subject this material to a more ‘in-depth’ acousmatic investigation, so was delighted when Pierre Alexandre Tremblay, one of my former PhD students at Birmingham and now Professor of Music at Huddersfield, asked me to compose 60-minute multi-channel work when I retired – it was the perfect opportunity. A Leverhulme Emeritus Fellowship enabled me to make field recording trips to Australia and Iceland, and supported the development of multi-channel signal processing software; the National Lottery, via an Arts Council England Grants for the Arts award, supported the period of composition.

Going / Places is not so much a piece as an ongoing project – what you will hear today is the story so far. I intend to carry on travelling, recording new materials that will undoubtedly demand and deserve to participate in future versions.
 
Going / Places – a ‘rough guide’

I thought it might be useful to offer some ‘signposts’ (this is a project about travel, after all!) – not to tell you what you should be hearing, but simply to enhance and complement your listening experience (and to give you something else to do if you get bored!). The musical moments or ‘scenes’ that you will hear (some clearly delineated, others overlapping) are all completely artificially constructed; some border on reportage or documentary, others are more fanciful – but they all have their origins in specific locations. Telling you what and where these locations might be does not, I hope, detract from the aural experience.

We begin and end in Italy, my second home. Between these scenes – one implying imminent motion, the other more restful and tranquil – we flit erratically and unpredictably between other locations in Europe, Iceland, Australasia, North America, North Africa and parts of Asia, and the means of travel (trains, cars, planes, ships, etc) are lurking almost throughout. But the logic of the narrative (if there is one) does not lie in the geographical connections or distances but in the sonic journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within this huge range of material. I hope you enjoy the ride.
 
I owe huge thanks to a large number of people and organisations for their contributions to this work and their assistance in its creation:

Thanks to: The National Lottery/Arts Council England, The Leverhulme Foundation, Pierre Alexandre Tremblay and the Huddersfield Contemporary Music Festival, Joe Klingler, Elainie Lillios and Michael Thompson, Alex Harker and his students, James Carpenter, Chris Tarren, Lisa Whistlecroft and Steve Benner, David Hirst – and my wife, Alison Warne.

Artist bio:  Jonty Harrison (1952) studied at the University of York, before working at the National Theatre and City University, London. In 1980 he joined the University of Birmingham, where he directed the Electroacoustic Music Studios and BEAST. He retired in 2014 and is now Emeritus Professor of Composition and Electroacoustic Music. Gastprofessur, TU, Berlin (2010); Leverhulme Emeritus Fellow (2014-15). Compositeur Associé, Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France (2014–).

He has received many commissions and prizes internationally, and his work appears on four solo albums (empreintes DIGITALes, Montreal) and several compilations.

https://electrocd.com/en/artiste/harrison_jo/Jonty_Harrison

1 Eric Tschaeppeler & Riley Bertoncini - Only Fans (4:46)    
2 David A. Marin - Colt No. 4 Derringer (14:00)    
3 John Hughes and Sissy Christopoluou - The Brown Book Part 1 Stage 1 (13.03)    

1) 1 Eric Tschaeppeler & Riley Bertoncini - Only Fans

Only Fans started as a play on words. Sonically, it is a collage of ventilation fans recorded on Eric’s derives through Montreal during the Summer of 2025. Riley poetically explores the link between ventilation fans and OnlyFans in his spoken word contribution to the piece. The poem asks us to consider what the many fans of the city mean for it’s growth and survival, despite how they fade into the background of our daily awareness.  Alongside this, Only Fans explores the place of fans online, the type that pay money to see others engage in sexual acts. They both rely on and produce breath, whether it be for fans or as fans.
How are the breath of the city and the breaths of those online entertained, what flows of capital and power animate and direct them, and what are the ways they have become commonplace, mundane?
     
Eric Tschaeppeler is a multidisciplinary artist whose career began in 1978 composing and performing music in Montreal’s punk and new wave scene. In 1983, he recorded in Jamaica with Sly and Robbie. During the 1990s, he was based in Berlin, collaborating musically in a city reshaped by migration following the fall of the Iron Curtain. In 2022, he earned a Master’s degree in Photography, exploring the psychological forces that shape the relationship dynamics and behavioural patterns we find ourselves in.

Riley Bertoncini is a gay, Indigenous PhD student and multidisciplinary artist working primarily in music and writing. His doctoral research examines natural spaces within cities and how people experience and interact with them. He has also explored sound in previous projects, including a work investigating the space between photographs and the sounds of their creation, which was presented to the public at a university event.

http://www.erictschaeppeler.com

2) David A. Marin - Colt No. 4 Derringer

Pseudo-historical fiction. 1970s, maybe. America, maybe. A radio broadcast, maybe. The host, James Harlot, is going through a rough patch. Gentrification, global warming, loss and yearning all meet together in a distressing opinion piece, and whilst at the center of the work there is a sort-of cry for help, it does end on a somewhat inspiring note, especially for denizens of a town full of gorgeous museums. The work can be presented in its entirety although a shorter version has also been provided in the link. The accompanying music is my original work.    

My artist name is damarin, I am based in Bucharest and I am a student of the radio drama. I also release music under the same moniker. I am preoccupied with storyworlds, especially transmedial tales that extend over various forms of media (like Orson Welles' Harry Lime). One day, visiting Glasgow with a lover I became enamored with the city and its many twists and turns and narrow passes. I remember this upward passage squeezed between two buildings, two pigeons intertwined on the heights, over our shadows. The city has remained close to me since then.    

https://www.instagram.com/damarin1917


3) John Hughes and Sissy Christopoulou - The Brown Book Part 1 Stage 1

A Garden Noir. A forensic detective investigator, in the near future, reveals the contents of her notebook.    

John Hughes and Sissy Christopoulou live and work in South London. Their work has been heard on One Minute Wonders, Hello Goodbye Show, Resonance FM.

4 Water Feature - golden nuthatch (1:15)
5 Verandasdr - Decroissance Sexuelle (6:54)
6 Craig Hunter - What's your game? (9:49)
7 Noel Molloy - ITS A REAL SNORE (9:59)

4) Water Feature - golden nuthatch

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.    

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.      

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/

5) Verandasdr - Decroissance Sexuelle
     
Drawing inspiration from the graphic novel Decroissance Sexuelle by the artist Julie Delporte, I created a sound composition to accompany the text.
 
Born out of a personal need to process abuse that I had suffered, I found that the text and sounds offered a way to explore themes such as indignation, self-protection, and healing, both individually and collectively. They also offered a way to explore themes such as collective care and purification in nature and in ancestral culture. The process did me a lot of good. I hope it will have the same effect on listeners.
     
Verandasdr approaches sound creation for the first time in 2023 in the city of Brussels. Originally from Trentino in Italy, she initially explored field recording, creating soundscapes that blended the sounds of alpine landscapes with the stories of the local people.
She then moves on to creating sound accompaniments for poems and texts, and now explores sound projects with a social and educational impact, such as the sound walks in Brussels that highlight the stories of its inhabitants.    

6) Craig Hunter - What's your game?
     
Some musings on board games and the lessons we learn, over a game of backgammon. Thanks to Clarinda Tse, Andrew Morrison and Ben Somerville for their participation.    

Former journalist, current mover of furniture. Has a monthly dwam jam on Radio Buena Vida (Hazy Memories w/Koala Craig) and occasionally makes other oddities like this. Previous sound work has been broadcast on Radiophrenia, Resonance FM, Dundee Radio Club and Glasgow Doors Open Day Radio.    

https://soundcloud.com/craigontoast
https://www.instagram.com/koala.craig/

7) Noel Molloy - ITS A REAL SNORE
 
While you were sleeping.    
 
Studied Limerick School of Art and Design 1978 – 1982,
Degree in Fine Art 1982. Born Clonmel County Tipperary Ireland.
 
http://www.noelmolloyart.com
https://noelmolloyperformance.weebly.com/
https://www.noelmolloyart.com/audiograohy.html
https://www.noelmolloyart.com/filmography.html

The story continues with our solitary Radio Operator “83” working alone at a remote outpost in Limbo. His reports (to an un-answering HQ) are an insight into his experience of life, and the unusual things he picks up amongst the static drizzle. Recordings of curious music, scruffy broadcasts, odd sketches, recycled vintage material, disembodied voices and audio curios, as usual.

There is a visitor to the outpost, and new voices in this series that come from outside of his radar, potentially connected to the Operator’s missing companion Old Leonard…

https://limbotapes.podbean.com
https://noodsradio.com/residents/radio-limbo
https://limbotapes.bandcamp.com

Absent Bodies, Living Memories is an act of deep listening that intertwines colonial memory with the contemporary ecological crisis. Through a polyphony that integrates the demands of migrants and natural landscapes of the Global South, the project explores how colonialism not only marked bodies and borders, but also territories and ecosystems. The voices of those who resist by migrating merge with the murmur of forests and rivers that still struggle against plunder, denouncing the ongoing environmental pillaging in the name of progress.    

Artist bio:  
Fabio Manosalva is a multidisciplinary artist and researcher whose work explores the political and sensory dimensions of sound. Their practice focuses on the intersection of decolonial memory, political ecology, and migratory movements, utilizing deep listening as a tool for social mediation. Through sound installations and acoustic landscapes, Manosalva seeks to visualize the traces of extractivism in the Global South and the resistances emerging from bodies and territories. Their work has been presented in various contemporary art spaces, consolidating a practice that transforms sonic vibration into a space for denunciation and collective reparation.    

Website/social links   
https://fabiomanosalva.com/
https://www.instagram.com/manosalvafabio/