Wed 9

Notes on the Administrative Life of Resonance, is a project by Dirk D’Hulster in which sound and photography are treated as administrative systems rather than expressive media.
This project approaches resonance as trace rather than sound.
Through a sound installation and photographic studies of piano strings, resonance is examined as a material process that leaves marks, accumulates residues, and undergoes regulation.
Sound and image function as parallel archives.
What is heard disappears; what remains persists as material inscription.
The book on this project functions as an administrative artifact: a record of what remains.    

Artist bio:  
My work is located at the intersection of visual art and sound. I merge digital and photographic techniques to create a bridge between the present and the past. I use both data sonification and geophonic recordings.
exhibitions : London, Brussels, Antwerp,...    

Website/social links   
http://www.dirkdhulster.org

エコー contains field recordings, snippets from live sets and line recordings I made in capsule hotels during my trip to Japan in May 2025. Trains, pachinko parlours, re-recorded radio transmissions, nature and urban ambience are collaged and recomposed throughout the album. All material was recorded in Tokyo, Nagoya, and Osaka. The two tracks Kagayaki and Kodama are both named after trains; their names translate to “glitter” and “echo.” Recording and editing: Stefan Voglsinger Mastering: Aras L. Seyhan Lable: TestToneMusic Nagoya 2025     Artist bio:   Stefan Voglsinger *1986 is a musician and performer based in Vienna. He improvises with sine waves and noise generators sent through resonators, objects and membranes. Using open-source instruments for live sampling, he fuses these signals with filtered field recordings gathered during his travels. This practice moves the studio into the environment, unfolding through improvisation with unstable feedback systems and direct interaction with the surrounding context. He focuses on interdisciplinary experiments working with sound and image, developing performances or audiovisual installations including selfbuilt or hacked electronic circuits.     Website/social links   voglsinger.klingt.org setzkastenwien.at @knarx3

We are All Lichens Now comes from an exhibition of the same name at Nunhead Cemetery Chapel, 2025. The exhibition combined ceramic artworks by Emily Stapleton-Jefferis that drew from her ongoing research into lichens and a sound installation created for the event. Pioneer species, lichens are among the first species to colonise bare rock. Through chemical weathering they draw minerals from inert objects into the cycles of the living. Emily’s artworks, sculpted from foraged London clay show how lichen exist by presenting them at a macro scale. Taking inspiration from Emily’s sculptures and the histories, ecology and lichen of Nunhead Cemetery, Jamie’s accompanying sound installation transported the viewer into an emergent landscape of unique sounding organisms. Arranged around the inside and at the gates of the space, the diverging and overlapping layers of the sound piece divided the serene inside and chaotic outside of the chapel and cemetery.    

Artist bio:  
Jamie Lee (b. Bristol; based in South London) works across sound, moving image, photography, installation and printmaking. His hybrid practice is rooted in the history, context and design details of various sites and questions how places are constructed by the interaction of found objects, bodies and the architecture that contains them. Past projects involve recording the results of performances with cymbals on cliffs along the South Coast of the UK, where huge, monolithic concrete forms known colloquially as ‘Sound Mirrors’ represent the leaps in technological advancement during wartime. His music is released on record label Mortality Tables (2025).    
 
jamieleeartist.com
https://www.instagram.com/jamie_leeartist/

FOLIAGE explores the evolving relationship between nature and technology through a one-hour soundscape. Starting from field recordings at a lakeside, familiar sounds of water, wind, and rustling leaves gradually transform, intertwining with subtle digital textures. The composition blurs the line between the organic and artificial, inviting listeners to experience a future acoustic environment where natural and synthetic elements coexist. Layers of sound shift between serenity and disruption, encouraging reflection on the fragility and resilience of ecosystems. By presenting familiar sounds in unexpected forms, FOLIAGE turns listening into an act of awareness, highlighting the delicate balance between preservation and transformation in the auditory world. Designed for radio transmission, the piece emphasizes immersive spatial experience within a stereo field, allowing the listener to perceive the unfolding soundscape as a living, evolving environment.    

Artist bio:  
Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, South Korea, Portugal, Peru, Thailand, Switzerland etc.).    

Website/social links  
Facebook: https://www.facebook.com/domenico.desimone.7587
Instagram: https://www.instagram.com/domenico.desimone.7587

The 2025/6 Conduction Series    

Emphasizing live radio, interactivity, and media archaeological methods, The 2025/6 Conduction Series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Some sessions don't have a description and the one on October 3th doesn't have even a title. However, some have a more detail description as in The Spiral: The record groove or a strip of tape moves forward by circling, slipping into another layer each time. That coiling motion echoes how time forms paths that don’t quite repeat. The spiral frames the way patterns return at different scales, from tiny biological curves to movements that shift light, air, and weather. A shared structure keeps resurfacing and shows how things grow and reorganize, how memory drifts, and how repetition comes back slightly off axis, opening another turn.      

Artist bio:  The Conduction Series is a collaborative live radio broadcast produced by sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. Artists names are: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino. The Conduction Series is syndicated on Radio MonteAudio in Montevideo, Uruguay, Radio Tsonami in Valparaíso, Chile, Radio CASo in Buenos Aires, Argentina, CITR FM in Vancouver, Canada, New Adventures in Sound Art in Ontario, Canada, and on Radio 1190 in Boulder/Denver, USA.      
https://conduction.wavefarm.org/

1 Sara Maino - When the drops meet the mountains (4:05)
2 Dariusz Mazurowski – Excerpts from Metropolis Balticum (Urbana Landscape) (21:00)
3 Geert Vlieger - Echoes of Peace in South Sudan (05:09)  

1) Sara Maino - When the drops meet the mountains

A surreal blue-hour journey unfolds as a displaced spirit wanders through the temporal landscape of an isolated hill in the Apennines.
Guided by a thin wire dividing a field, where faint and fragile raindrops rest, the spirit pauses to observe the layers that slowly reveal themselves to the eye: a chain of droplets, a chain of mountains, a chain of birdsong. Physical forms and drifting sounds dissolve into a sequence of memories—echoes of past encounters where water meets stone, movement meets stillness.
Intrigued by this encounter, the spirit returns home to pose a fundamental question: “What happens when the drops meet the mountains?” Where water meets the mountain begins life and danger alike—a threshold of transformation, of new currents, and of motion yet to unfold.    

Sara Maino is an Italian sound and audio-visual artist, poet and performer, film and theatre director, and a community-engaged researcher.      

http://www.saramaino.it
https://www.instagram.com/maino9800
https://www.facebook.com/mainosara/
https://www.linkedin.com/in/sara-maino-66285738/


2) Dariusz Mazurowski – Excerpts from Metropolis Balticum (Urbana Landscape)

Water, Air, Streets and People are parts of the composition Metropolis Balticum (Urbana Landscape) – this is 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. Each had its own acoustic aura, atmosphere and sound universe. Each of the eight parts of the composition consists of multiple phrases layered on top of each other, creating a sonic tapestry. As a result of these techniques, some parts resemble a journey through the city, with smooth transitions between layers and locations, while others are more distinctly musical impressions blurring the lines between soundscape and concrete music.    

Dariusz Mazurowski is a Polish electroacoustic music composer, born and currently 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. His works combine analog instruments with the sonic potential of digital technology and computers. His compositional approach is dynamic in that it involves live electronics and live sound diffusion across multi-speaker systems. Mazurowski’s music has been broadcast by various radio stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia.    

https://deemstudio.com/
https://www.facebook.com/profile.php?id=100086282450366
http://www.youtube.com/user/DeeMstudio

3) Geert Vlieger - Echoes of Peace in South Sudan  

Emmanuel remembers how he as a child learned to warn people for in coming wild animals - especially elephants - using a certain whistle technique. When asked, Emmanuel couldn’t reproduce the whistle - which isn’t surprising, as for most of his life, dangerous animals were no longer a threat. The 21-year-long war in Sudan, filled with gunfire and very restricted freedom to move, didn’t just force the people to flee the country - it also drove the animals away to safer neighbouring countries like Uganda. But when peace came, elephants were spotted again and Emmanuel probably regrets not having practised more.

Geert Vlieger is a Dutch audio documentary maker and musician living on the outskirts of Amsterdam. He has a love for stories about communities that live with nature. And while the Netherlands isn’t the best place for that - although he tries, living in a wooden house on the shore of Holland’s biggest lake - he occasionally sinks his teeth into projects where people inspire him with their way of living somewhere else in the world.    

https://www.geertvlieger.nl/
https://www.instagram.com/geertvlieger/

1 Malu Hatoum - Refluxus 1 or Ruminat Beat (6:40)
2 Owen Duff - The Meaning of Alexa (Ambient) 1 - How do you feel (11:59)
3 BBB_ - Ontology of Interdependent Matter (11:30)


1) Malu Hatoum - Refluxus 1 or Ruminat Beat

The composition Refluxus 1 - or  Ruminate Beat is based on the indigestible feeling and condition of our society. It physically conveys the idea that if we were ruminant animals with five stomach cavities, we might have the stomach for this society. For this composition, only two sound sources were used and modified: the conversation of two deer, which are ruminants, and the author's voice.    

Malu Hatoum
Sound artist, performer, producer, singer, and writer, she currently researches transspecies communication through the body-voice.
She has held solo and group exhibitions in Latin America and Europe.
2024 - PhD student in Contemporary Arts Studies, Fluminense Federal University (UFF), Brazil; 2019-21 Master's degree in Sound Art, University of Barcelona, Spain; 2012-14, Undergraduate degree in Psychology, University of São Paulo (USP), Brazil.
Co-founder of the Refluxus Collective, 2019. Member of Soma_Lab, the Sound Arts Research Group at the Fluminense Federal University, Brazil, since 2024. Curator and producer of Chicharra Nomadic Listening Festival    

https://www.museuapellesfenosa.cat/es/expo/reverberant/
https://bilbaoarte.eus/exposicion-aqui-feroz-malu-hatoum/
https://www.instagram.com/malu_hatoum/
https://soundcloud.com/maria-luiza-gimenes-peres
https://www.instagram.com/refluxus_colectivo/
https://colectivorefluxus.wordpress.com/
https://soundcloud.com/refluxus-colectivo

2) Owen Duff - The Meaning of Alexa (Ambient) 1 - How do you feel (11:59)

These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers.

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.  

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.      

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com

3) BBB_ - Ontology of Interdependent Matter 
 
Ontology of Interdependent Matter is part of the Songs of Cyborgeoisie project by BBB_. A mesmerising PC gaming experience and audio-visual journey through a sci-fi universe, populated by technological, organic and fantastic beings, such as the Queer Feminist AI, Raving Narcissistic Algorithm and Other Intelligences, who tell of their sorrows and hopes, in order to heal human imagination from the pervading techno-dystopian narratives.

Artisitc direction & Concept: BBB_
Lyrics and Voice: allapopp
Composition and music production: Alexander Sahm
Choir: Deniza Popova, Santrra Oxyd, Elisabeth Rudi, Cassandra Schwermer

https://homepage-bbb.bandcamp.com
https://www.youtube.com/watch?v=2tHi1i-1Chk
IG @allapopp
IG @alexandersahm_

Shhh is A Softshell Broadcast brought together through a collaborative recording day and later woven together with found sound and music to produce an immersive sonic landscape. The sound work is punctuated with recorded chatter and discussion from the recording booth, a gesture to what can occur through collaboration.

Shhh is based on a series of texts, each at varying points in their process. They are experiments in overlaps, thresholds, and skirting around the edges. Objects appear and reappear in different voices, whilst sounds clatter and whistle through adjacent rooms. This is a translation of text to sound.

The sound piece is 33 minutes long and is a combination of recorded voice, field recordings and instrumental music.      

Artist bio:  
Will Farmer, Esther Hesketh, Maisie Wills, Emma Mortimer, Toby Üpson, Beth Emsden, and Sophia Kelly-Keegan are Art Writers, currently on the Art Writing course at Glasgow School of Art. Their collective practices explore a shared curiosity of the thresholds of form, objects, text and landscape.
Soft Shell Broadcast is an iterative process of translating text to sound. It incorporates performances, recordings and readings.      

Website/social links  https://theyellowpaper.org.uk

In the shade of Palestinian gardens, memory once bloomed — fragrant with olive groves and the quiet gestures of care. These were spaces of closeness, of which Christiane Dabdoub Nasser recalls inviting us into her childhood and Palestinian culture from another time, where the Mediterranean breathed through shared rituals of tending and living in harmony with the land. Rooted in practices of cultivation, refuge, and sensory proximity, such intimacy has been systematically disrupted by the colonial project of the Israeli state, which reconfigured land into instruments of control and dispossession. Today, the relational fabric of Palestinian landscapes lies fractured — yet the soil remembers.
Through powerful storytelling, family history, and enduring friendship, this piece gathers what remains: the rustle of leaves under siege, the echo of footsteps in forbidden groves, the persistence of tenderness in a terrain marked by erasure. It traces how ecological and cultural memory endure despite spatial fragmentation and political violence.
Manja Ristić engages with sounds gathered from war-torn landscapes and towns across the former Yugoslavia, from WWII memorial sites to intoxicated rivers — bearing witness to how the land carries its wounds in silence, while the echoes of war still tremble through every pore of the heart.
 
Concept and direction: Anamaria Pravicencu
Storytelling by Christiane Dabdoub Nasser, with the support of Maya Nasser
Sound design and composition: Manja Ristić
Presentation text: Manja Ristić
Mixing: La Plant Studio, Belgrade
A production of SEMI SILENT and tranzit.ro/ Bucharest
 
Artis bios:

Anamaria Pravicencu is a sound artist based in Bucharest and founder of the platform SEMI SILENT (2016), dedicated to podcasting, sound art, radio art, and field recording. She also developed the SONIC FUTURE RESIDENCIES program (2018, 5 editions) to support mobility in contemporary sound art. In 2022–2024, she co-curated Sonic Narratives (Simultan) in Timișoara as part of the European Capital of Culture, and in 2024-2025, she co-curated Orizont Sonor (French Institute in Romania and SEMI SILENT). She is a founding member of CENSE – Central European Network for Sonic Ecologies.

Manja Ristić is a violinist, sound artist, published poet, curator, and researcher. Ristić’s sound-related research, besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts. Ristić has created commissions for ORF musikprotokoll, INA Grm, Radiophrenia, Radio Art Zone, Kunstradio—Radiokunst, Semi-Silent, Radia.FM, Framework Radio, and all national broadcasting agencies across SE Europe. The winner of several distinctive awards for solo and chamber classical music, holds an honourable mention from the Phonurgia Nova Awards, and a Golden Award for extended media from the Association of Fine Artists of Serbia. She is a founding member of CENSE – Central European Network for Sonic Ecologies.
 
Website/social links 
https://semisilent.ro/
https://manjaristic.blogspot.com/

1 Kateryna Ziabliuk - Spivanka (5:03)
2 Mathias Guilbaud – Roar (22:27)    

1) Kateryna Ziabliuk - Spivanka 
 
The piece was recorded live in 2025 in the legendary MONOM - one of the Funkhaus sound studios in Berlin. It is based on folk tunes from Ukrainian Transcarpathian region, that used to be the way of communication between highlanders working on the mountain fields. Together with one of the most unpredictable sound sources - audio feedback from no input mixer - and live sampling, the piece reassembles the mysticism, richness of the soundscape and the beauty (rather importance) of repetitiveness. There also was an unpredicted result of this experiment - at the certain point, the mixer started “catching” frequencies from samples, and its random glitches sounded like a parody on the melody of the flute.      
 
Kateryna Ziabliuk is a Kyiv-born, Krakow-based sound artist, multi-instrumentalist and improviser educated at the music academies in Krakow, Kyiv and Milano. She performs across Europe with her band Hilarious Disasters and the all-female group O.N.E., and researches Ukrainian musical modernism, Ukrainian and Polish folk music, contemporary improvisation and electroacoustic techniques. 
Katrù is her artistic identity, dedicated to reshaping Ukrainian folk music through free improvisation and experimental electronics. As an artist who has been educating across Europe and the USA, her work deeply reflects the experience of migration — balancing nostalgia, cultural preservation, and the constant process of assimilation.     
 
https://linktr.ee/katruziabliuk
https://instagram.com/katrututu
 
2) Mathias Guilbaud – Roar 
 
My city roars. Like yours, it is constantly changing, driven by silent, powerful forces. Beneath my feet, an invisible metro line cuts through ruins — neighborhoods, dead ends, streets. Construction sites, machines, bodies in motion. Clatter, tremors, textures: raw, living, untamed sounds. I walk with microphones, gathering these sounds not to freeze them, but to move through them — to hear what, amid the chaos, tries to speak differently. These noises become stories, presences that awaken a numb urban imagination. Reactivating it is a form of situated resistance, rooted in places, cracks, and transformation. By letting these often-dismissed sounds resonate, construction sites stop being mere breaches in the city and become breaths. Giving voice to places in transition, reclaiming through listening a power over what slips away. 
Roar is a sound piece built entirely from field recordings produced by Semi Silent.     
Mathias Guilbaud is a Toulouse-based sound artist working with field recordings and acousmatic composition. His work explores the sonic textures of urban transformation, the poetics of construction sites, and the intimate intersections between public spaces and personal narratives. Through his electroacoustic pieces, he seeks to awaken new ways of listening to cities in flux, revealing the hidden layers beneath everyday noise.
 
A multidisciplinary artist, Mathias collaborates with performing arts companies, community radios, and film projects.
 
https://mathiasguilbaud.fr/
@mathias.guilbaud

1 Andrew Paine - (Tectonic) Notes For 3 Cassette Recorders (7:00)   
2 Panayiotis Kokoras - Useless Box (11:00)    
3 jonesy jones - woolf worldings  - pomona (0:44)  
4 BORȘ - Murmuration of crumbles (8:35)    
5 Andre Perim/ Eye P - Life Insists (3:09)         
 
1) Andrew Paine - (Tectonic) Notes For 3 Cassette Recorders     

I recently found the notes I had been writing prior to my performance at Tectonics 2019.
I thought it might be interesting to record these notes ‘live’ into three vintage cassette recorders simultaneously. I had original mics for each of them but no real idea how effective they might be. In addition, I used vintage, second hand tape to make the recordings.
The results are (to my ears) very satisfying. Difference in quality and on-going degradation of recordings are clearly marked. No FX have been added, I’ve simply moved the vocal around a little, to make it more interesting.
The Tectonics performance itself, featured bowed guitar, morse code, SW Radio, Cassettes, iPod, & spoken word.
I have added the morse code from that performance to this recording. 

Andrew Paine is a Glasgow based musician: his work ranging from solo voice, howling guitars, gentle piano interludes, radio, oblique electronics and wherever he likes in between.
He initially broke cover collaborating with Richard Youngs in their progressive rock group project Ilk. Following their second album “Canticle” (VHF, 2005), he became particularly prolific, releasing many collaborative albums with Youngs as well as several solo projects.
Current duties extend to ambient alter-ego ‘Lord Tobacco’ and duo, The Domestiques (w/ Kevin McCarvel); guitars in tune with the energies of 70s rock & Japanese psych and electronics akin to the 80’s industrial experimenters.
     
https://andrewpaine.bandcamp.com/
https://lordtobacco.bandcamp.com/

2) Panayiotis Kokoras - Useless Box   

Useless Box appears as an ordinary wooden container whose resonant knocks unfold into an unpredictable sonic world. Drawing on the myth of Pandora’s Box, the piece reveals how the seemingly harmless can unleash chaos, oscillating between the mechanical and the organic, the playful and the ominous. Integrating performance, robotics, sound design, and theatricality, the work employs spectromorphological and transcontextual transformations to create a surreal drama. Quotations from Julius Fučík’s Entry of the Gladiators frame the piece, reinforcing irony and illusion. Beneath its playful surface, Useless Box explores uncertainty, paradox, and agency, transforming the box into a liminal space of sonic and philosophical tension.     

Panayiotis Kokoras is an internationally acclaimed composer and computer music innovator, currently Regents Professor of Composition and Director of the Center for Experimental Music and Intermedia (CEMI) at the University of North Texas. His music treats sound as the sole structural element of form and is articulated through his concept of Holophonic Musical Texture, in which each independent sound contributes equally to the total. His work integrates electroacoustic composition, physical computing, robotics, spatial sound, and Music Information Retrieval–based strategies. Kokoras has received major international awards, commissions, and fellowships from institutions including the Guggenheim Foundation, the Fromm Foundation at Harvard, IRCAM,     

https://www.facebook.com/pkokoras
https://www.instagram.com/panayiotiskokoras/
https://www.panayiotiskokoras.com/ 

3) jonesy jones - woolf worldings  - Pomona 

old memory
hits a ghost artery
sparking
a l c h e m y

This is the first dive in to the instinctive otherness of the expansive worldings of sounds.
This is a memory glitch switch making queer cacophony with the ghosts.
This is a Woolf swish fish in to the swirling abyss of ghost paths and archaic messagings. 
This is river life, woolfing in the luminous dark, curious in the heart beat -
pulsing the deeps - trans-ing the cares - immersing in the kindnesses  
of the non human world.
it seeks to be our P O M O N A       

a fugitive in the sound world
an escape artist from the theatre world
sometimes up - sometimes down - mostly upside down
dancing - looping - listening 
making - sometimes - faking
always d.i.y
in the radicals of resistances - deviances - protestas
seeking discoveries of new bellisimos queerissimos
for all our glory days

4) BORȘ - Murmuration of crumbles 

am dizolvat, am lăsat să putrezească. look, it’s rotting! the myth, the foundation, the loop, the repeat, the on repeat, tot așa, tot-ș-aceeași, tot rot, autoritatea epistemică, exprimarea se screme. exprimere – to express, or rather squeeze out (of?). ne scremem. ne scremem să naștem murmurări noi. noi scremem noutăți express. ce mai e nou? this is where we express in the crumbles and murmurations of crumbles. crumble ‘til you forget how not to. murmur ‘til you forget words, to world. apoi uită din nou… remember to forget all over in fragments, smaller… smaller… that we can’t measure any longer. shorter… shorter… that we no longer store and hoarder. liquid, back to liquid, then vapour again, always in flight, escaping the lines, the rise, the wise men. but who can? [...]

Recordings, composition and mixing by Mădălina Ciocanu for SEMI SILENT
Co-produced by Simultan
SONIC FUTURE RESIDENCIES 2024     

Mădălina Ciocanu, un/commonly known as BORȘ (/bôrSH/), is a Moldovan sound artist, DJ, and researcher. Her practice explores Bessarabian relational animism, oral memory, and decolonial ontologies through folklore. She’s released both dance tracks (I’m Going to Chișinău) and sonic testimonies like vers pervers (on the 1946 famine) and Leagăn (with folklorist Natalia Țurcan). She leads the collective listening workshops Ciulește Urechile and co-hosts AICI Chișinău, a micro daytime dance party. Sometimes these explorations become conceptual installations (Simultan Festival, Au Gust Fest), other times — collective workshops (Porocity, Timișoara).     

FB: https://www.facebook.com/madalina.ciocanu
IG: https://www.instagram.com/bors.beets/

5) Andre Perim/ Eye P - Life Insists        

Two artists come together to share a reaffirmation of life in the face of difficulty. Art emerges as a means of resilience.     
 
Andre Perim is a Brazilian musician, composer, and multimedia artist. Eye P is an Italian poet and spoken-word artist. Together, in 2025, they released the album Songs for Errors and Victory, which includes the track “Life Insists.”     

https://linktr.ee/andreperim
https://linktr.ee/AntonellaEyePorcelluzzi

"We are in this together" is a 30-minute live broadcast exploring care based practices in the form of listening. This originates from the artist's experience of being read to which has become an everyday ritual in the management of chronic pain. I propose to read aloud a series of chosen texts regarding performance, landscape and chronic Illness to honor a shared space of radical tenderness and reflection. Navarro, Eduardo “Riverbed Meditation”. Meandering Art, Ecology and Metaphysics Ruwona,  Natasha Thembiso. “What is held between waters”. Institute of Postnatural studies, Compost Reader 2 Neimanis, Astrida. “Hydrofeminism: Or, On Becoming a Body of Water.” Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice Halprin, Anna. ”The Body as a Healer”, Returning to health with Dance Movement and Imagery Halprin, Anna.”Nature as Healer Part 2 The Use of Visualization”, Returning to Health with Dance Movement and Imagery      Artist bio:   I am a Glasgow-based visual artist working at the intersection of Disability Justice, Somatics, Embodiment, and Landscape. My work combines performance, drawing, writing and sound to explore new languages and or possibilities of the body. I create performances that are not rehearsed where I use my time before to research extensively, draw, write and gather images with a plan to respond to the live present moment. Documenting performance continues to excite me where I find drawing, writing and sound interesting tools to transform the ephemeral nature of live performance into a new form with the same magic.       Website/social links   Website: gemmajonesperformance.cargo.site Instagram: @gemmajonesperformance

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day  - Ģenerāļa Baloža iela (1:55)

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day  - Ģenerāļa Baloža iela  

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

An exploration of ideas of attractiveness via an actual radio broadcast in the form of a fake radio broadcast

Cast:
Neil: Vanessa Rossetto
Gloria: Matthew Revert
Rivka: Amy Johnson
with
Christina the Turkey as Herself
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
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/

The sound piece draws from a written testimony in which I have endeavoured to convey the distinct logic of my thought processes and the associations I was making during a lengthy psychosis. The monologue is non-chronological and echoes my fragmented memories. My spoken voice overlays a digital soundtrack in which I have woven together vocal pieces and music that I made on my computer whilst experiencing mental distress: an archive of that time.
   
Artist bio:  
Treading the backward path is part of a wider auto-ethnographic project exploring Louisa Fairclough’s lived experience of psychosis funded by an Arts Council England DYCP award, and will be performed at Figments: Madness, Health & Creativity conference at University of Glasgow, June 2026. Louisa’s solo show, Mental Falls, was at Danielle Arnaud Gallery (2024) and MIRROR Arts University Plymouth (2025). To coincide with Mental Health Awareness Week, Louisa curated Welcome to my World, a weekend programme of artists' screenings, performances and talks at the Arnolfini in Bristol in May 2025. Louisa is co-founder of BEEF (Bristol Experimental & Expanded Film).    

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

1 Laura Romero Valldecabres - Hidden Speakers (4:42)    
2 Son Hanson - The Signal (2:44)
3 Luba Diduch - Angels' Voices in Pine Needles (1:52)
4 Cristian Fierbințeanu – Total (22:13)

1) Laura Romero Valldecabres - Hidden Speakers   
 
“Tsugi wa” (Japanese for “the next one”) is a reflective soundscape inspired by the artist’s journey through Japan’s vast railway networks. Moving from station to station, she encounters “hidden speakers,” a word that resonates as both loudspeakers and disembodied voices. These "acousmatic" announcements (relentless directions, train schedules, simulated birdsong guiding passengers to platforms and exits) form an omnipresent sonic architecture designed to assist navigation, including for the visually impaired. Amid this constant flow of information, the artist contemplates her own life path, asking, “What’s next?” The phrase "tsugi wa" becomes both practical instruction and existential question. The walk culminates at a "suikinkutsu" in Kyoto, where resonant drops of water evoke intimacy and presence, contrasting with the mechanical mediation of recorded sound. Suspended between natural acoustics and technological voices, the work explores displacement, time, and the search for orientation.
Headphones are recommended for full immersion.
     
Laura Romero is a freelance audio artist and researcher from Spain. She creates audio design and storytelling projects for radio, podcasts, and sound installations. Her work intertwines bioacoustics, cultural heritage, orality, soundscapes, and poetry, with a strong commitment to preserving memory across diverse territories. She has received First Prize at the Grand Prix Nova International Radio Drama Festival (2021), UK International Audio Drama (2022), and the Bronze Award for Best Documentary at Prix Marulic (2023). Holding a PhD in Communication and Sound Studies, she works across artistic and academic contexts and regularly organizes public listening sessions in Iberian Peninsula.      

http://www.laura-romero.com
https://www.instagram.com/lauraromerovall
https://www.facebook.com/laurahum
https://vimeo.com/lauraromerovall

2) Son Hanson - The Signal

The Signal is a found recording of a shortwave radio broadcast. It initially appears to be an experimental guided meditation that transmits subtle electromagnetic tones intended to ''awaken the inner child'', but as the tape circulates, listeners have reported unsettling experiences that linger beyond the act of listening.

This piece draws on Michael Persinger's ''God Helmet'' experiments, which used weak electromagnetic fields to alter perception and induce the sensation of another presence, as well as the occult history of Electronic Voice Phenomena (EVP), often associated with radio transmission and the belief that the voices of the deceased can surface through electronic media.

This Signal blurs the boundary between signal and spirit, leaving it uncertain whether the voices emerge from the mind, the medium, or something beyond.    

Son Hanson is a documentarian based in Montreal. Her work explores space, liminality, and the fluid boundaries between self and environment.    

3) Luba Diduch - Angels' Voices in Pine Needles  
 
This recording was made in two phases. My intention was to explore relationships between drawing and audio recording. 'Angels' Voices in Pine Needles' was composed using scanned drawings that I had made using pine needles as drawing instruments. I experimented with changes in pitch and duration in an audio program when I converted the drawings into audio tracks. A few happy accidents occurred when working on this project. Through experimentation, I discovered that adjusting different levels and pitches revealed angelic and otherworldly sounds. Eerily, the 'angel' sounds seemed to echo through the scanned pine needle shapes as though they were singing and taking breaths between notes.

My art practice explores notions of responsiveness that evolve within expanding and transforming architectonic schemes in and around artworks. These expansions are reflected in my collaborations with audiences as well as in my own responses and perspectives. Individual and participatory projects that explore the ways in which environments such as the world’s forests can be seen as creatively productive spaces. This is of particular interest in my practice as an artist who often works in the wilderness of Alberta as well other locations in Canada. My ongoing projects involve the creation of sonic recordings and compositions, drawings, and interactive digital    

https://www.instagram.com/lubartist/

4) Cristian Fierbințeanu – Total
     
This composition was created by Cristian Fierbințeanu in the frame of SONIC SPORTS, a project produced by SEMI SILENT in 2024 (unreleased)

SONIC SPORTS invited sound artists into new territories of exploration involving field research, dialog with athletes and support teams, field recording, as well as intimate or fictional writing, for a series of sound and radio art pieces. Presented in listening sessions of authored works, a national open call and a vocal expression workshop followed by a performance, the project proposes a sensitive reading of the role of sport in our lives and the intimate relationships we create with our bodies and the communities involved, from the very close-up, a breath or heartbeat away, through the perspective of the spectator in the stands or the football of children behind the block, through memories, histories and personal recollections.    

Cristian Fierbinteanu is an independent artist, member of art-pop group Fierbinteanu, active in music, sound & video art. As part of Fierbinteanu, he has performed on European scenes, including Berlin Konzerthaus, and released records via independent labels. The works of Fierbinteanu have been presented and awarded in international festivals: RVK Fringe Fest (Reykjavik - Iceland 2021), Seasoning Spring (United Cowboys/Eindhoven 2021), Phonurgia Nova (Paris 2020), Grand Prix Nova (Bucharest 2020), Nuit de la fiction sonore à Arles (France 2019), Arts and Science days (St. Etienne/France 2019), 60 Seconds Radio (Canada 2019), Dvorak Marathon (Berlin Konzerthaus), Dvorak remix (The Czech [...]    

http://www.fierbinteanu.com/
https://fierbinteanu.bandcamp.com/
https://soundcloud.com/fierbinteanu
https://www.youtube.com/@fierbinteanumusic
https://www.facebook.com/cristian.fierbinteanu/
https://www.instagram.com/fierbinteanu.music/

1 Nat Grant - Folding  - Permanent Ordinary (2:20)
2 Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land) - Identidad / Identity (5:04)
3 Angela Moreno Cascante / altera - Invocación a la lluvia (Calling the rain) (22:32)

1) Nat Grant - Folding  - Permanent Ordinary
 
Folding generates environments that both nurture and delineate smaller folds within them, akin to nesting dolls.
Folding represents the convergence of layers, the bending and intertwining of forms that give rise to new dimensions of existence. It embodies the fluidity of change, the inherent beauty found in the folding of time, space, and perception.
What was once flat and constrained now expands and flourishes. This form of folding doesn't signify resignation, but rather embodies a transformative process, embracing change and growth.
There is wonder in contemplation, and this work explores the possibilities that emerge when we embrace the nonlinear nature of existence.    
Dr. Nat Grant is a composer and sound artist working on unceded Wurundjeri country, producing works for live performance, recording and broadcast, digital arts, and community arts. Nat’s work focuses on the creation of multidisciplinary and longform musical compositions, performance events, and installations using traditional and graphic notation as well as improvisation.
natgrantmusic.com
@natgrantmusic

2) Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land) - Identidad / Identity

(poem by Agata Navalon - Spain)

Barbara Dang (France) plays prepared piano. Borja Flames (Spain) speaks/sings and plays electronics.
We have composed this pieces together, and they are part of a 9 tracks album recorded in june 2025, not yet released.

This collection of pieces go under the name SOY TIERRA (I am earth / I am land), and are based on contemporary latin-american and spanish poems. The poems explore the relationship between the body and its environment and society, ranging from metaphysical introspection to earthly and cosmic thought, and narratives of interpersonal relationships, love, and desire—the driving forces of life and purpose.

Spanish composer and singer Borja Flames lives in Normandy, France. Has published several solo albums, and collaborated with Marion Cousin, John Greaves, Areski Belkhacem and many others. Pianist, composer, and improviser Barbara Dang lives in Lille, France. Has worked with Sophie Agnel, Ensemble Dedalus, Tom Johnson, Radu Malfatti, Michael Pisaro, Halory Goerger, David Boinnard. They both tour often in France and Europe, together, solo, or with their different projects. More info in the website below.    

https://www.muraillesmusic.com/artistes/borja-flames-barbara-dang-soy-tierra/

3) Angela Moreno Cascante / altera - Invocación a la lluvia (Calling the rain)

Three friends wander along Quebrada La Vieja while invoking the elemental forces for rain to come back to Bogotá and fresh water flows over its land again.    

Angela Moreno Cascante is a Colombian sound artist and filmmaker. She is interested in experimental research creations processes related to live arts. Her work gathers art, technology and ecology from conceptual and sensory approaches. At the momento, Angela is distributing Entrada al bosquE, a performative sound installation which explores an interspecies relationship with Oyster mushrooms through contemplation, care and nourishment.    

https://www.instagram.com/altera_nm/
https://www.instagram.com/entradaalbosque/

'Dark, Sloshing' is an audio work by Sonia Levy and Lucy A. Sames created in response to the heavily industrialised and neglected riparian worlds of Silverthorne Lane in East Bristol.

The composition weaves field recordings and voice, moving above and below water as it follows canals, bridges, electric grids, train lines, and highways. It reveals muted ecologies that interrogate the altered dynamics of earthly and urban processes, reflecting the city’s imperial, infrastructural, and ecological entanglements. Commissioned by Gingko Projects, 'Dark, Sloshing' forms part of a larger project led by artists Rachael Champion and Jonathan Trayte.    

Artist bios:  
 
Sonia Levy is an artist filmmaker with a Berber-Polish background. Her work, marked by site-specific and interdisciplinary inquiries, delves into the implications of Western expansionist and extractive logics, exploring how these forces manifest in the transformation and governance of hydrosocial worlds.

Lucy A. Sames is a curator, writer, and researcher based in rural South Wales. Her research proposes a feminist, queer and posthuman concept of ‘excess’ modulated by the materiality and metaphor of the liquid, to develop disruptive, embodied, queer, collective practice.      

Website/social links   
https://sonialevy.net/
https://www.lucyasames.com/

https://www.instagram.com/sonia__levy/
https://www.instagram.com/lucyasames/

EAPS is a collective of six sound poets that respond to a prompt to create works that are gathered into a program. Prompt: Accumulation.
 
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.    

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

1 Emanuele Costantini - The train rolls south in pitch black darkness and I forgot to shut a window back home (20:04)
2 williwaw - And still the drone of the bus (11:25)
3 Christian Rosales Fonseca - AKEI (15:46)      
4 Andrew B - Nanjing Dong Lu 87.5 MHz (5:36)
5 cecilia moodz - Una ciudad (3:09)
6 Coims – FONNEL (1:38)  

1) Emanuele Costantini - The train rolls south in pitch black darkness and I forgot to shut a window back home
 
The dense city streets unwind through unmanageable traffic, street vendors and stallholders, workers slipping through cars on their scooters, office employees wedged into dust orange buses in stale sweat, not far from small artisan shops, markets, and poultry. Distances are taken through temples submerged by tourists in frantic meditative activity, then slipping out into chaotic countryside of motorcycles and insects in chorus.
Night sounds like a stone.
Galloping rain, slimy, slapping with swarming waves
Time to return.    
 
Emanuele Costantini is a Director, Photographer, Sound Designer, and Producer of sound-based films and art installations, Involved in a wide area of media sound and industry, born in Florence (Italy), and British naturalised, living in London (UK ). His first attempt in production became the award-winning documentary “GRA: Graffiti Roman Art” followed by few immersive installations, broadcasted on sound art radio shows (Framework, BBC3 Late Junction) and events such as Design Week in Bangkok, to name one. He keeps lending his sound skills to the film industry, getting involved in documentaries, commercials, and films while progressing with other productions.    
 
http://www.ecsound.net

2) williwaw - And still the drone of the bus

There is a particular sense of doom in riding the bus. Will it ever get there? Will we ever get there? Where is there? There has been scant reflection on the geo-existential dread of bus riding, save for a poem by suffragette V. H. Friedlaender from 1922, Bus Ride In A Fog:

  "...And still the drone of the bus,
  Like a coma, a swoon, a drug..."

Here, through some archaic mathematical processes and mistakes, we let the bus speak and swoon. We hear the fog.    

williwaw routinely explores the aesthetics of technological failure through the medium of heavily amplified ’ukulele.    

http://www.donkeyscratch.com

3) Christian Rosales Fonseca - AKEI        

In Akei, I bring together two distinct yet interwoven sonic worlds. The work begins with recordings I made from a historical phonograph from the early twentieth century. I spent several hours with the device, exploring its mechanics, experimenting with different playback speeds, and closely listening to the specific sounds produced in the processes of recording and reproduction. I did not treat these so called “noises” as interference, but as sonic traces of the technical and colonial practices through which voices and songs were once transferred into European archives.
I place these sounds in dialogue with recordings I made in close collaboration with the Kággaba community in the Sierra Nevada de Gonawindúa, Colombia. Recorded in the sacred territory, they reveal unexpected resonances with the phonograph’s rotating textures.
Through Akei, I explore the friction between colonial regimes of preservation and a territory in which sound remains relational and alive.
     
Christian Rosales Fonseca (1993, Bogotá, Colombia) is a composer, improviser, and electric guitar performer based in Bremen, Germany. His artistic practice is situated at the intersection of contemporary composition, free improvisation, and transdisciplinary artistic research, with a strong emphasis on political, social, and decolonial perspectives. He is currently a PhD candidate in the binational Artistic Research Program between the University of the Arts Bremen and the University of Groningen. His doctoral research examines Indigenous sound ontologies and colonial phonographic archives, focusing on early twentieth-century recordings of the Kággaba community and the cultural practice of "pagamento".    

https://crofon.com/
https://crofon.bandcamp.com
Instagram: @_crofon_

4) Andrew B - Nanjing Dong Lu 87.5 MHz

Andrew is a Canadian electronic musician living in China who integrates chaotic, analog circuits to create unpredictable performances.

This piece uses radio as both a source of audio and control signals. Captured opportunistically in Shanghai on the Nanjing Dong Lu walking street, the recording documents the live interaction between radio signal, performer, and chaotic electronic circuits. The radio signal is the basis of the sounds used, and is also slowed down through frequency dividing circuits to serve as control signals for other parts of the audio processing chain. Every moment reflects the performer's response to the signal being received in an attempt to shape it into a sound event.

5) cecilia moodz - Una ciudad

Una ciudad is a three-minute piece that proposes an immersive sonic experience where space becomes territory. Using recognizable sounds without electronic processing — raw, direct, and without effects — the work builds a moving sonic architecture.

Spatialization is the central element, but not just technicque, the sensation: sounds do not simply happen, they inhabit, circulate, and move, like bodies inside a living city. Each sound keeps its identity, allowing the listener to orient themselves within this sonic landscape, and at the same time, to get lost in it.

Rather than describing a specific city, the piece suggests the idea of a city as an organism: layers, paths, encounters, and distances revealed through listening. Una ciudad does not represent a place; it activates it    

I am a transdisciplinary artist and researcher whose work moves between sound, image, and writing. My practice takes a sensitive approach to memory, space, and time, focusing on processes of resonance, forgetting, tenderness, and error as creative forces. I am currently pursuing a Master’s degree in Documentary Film, where I continue to explore the relationship between listening, image-making, and narrative as forms of inquiry and artistic research.    

https://soundcloud.com/cecilia-moodz
https://vimeo.com/ceciliamooodz

6) Coims – FONNEL

FONNEL WAS PERFORMED AND RECORD LIVE WITH BOTH PERFORMERS LISTENING VIA HEADPHONES TO TWO DIFFERENT RADIO STATIONS SIMULTANEOUSLY. THE OUTCOME CAPTURING UNIQUE FEEL AND CHOATIC VIBE.      

Coims are an experimental sound duo, often using modern percussion and fretted instruments to create primitive sonic freedom.      

https://coims.bandcamp.com/
https://www.instagram.com/coims_sound/

One of the world's largest collections of wax cylinder audio recordings resides in Berlin, at the much contested space of the Humboldt Forum. The sounds are held there  in a state of stasis, while machines work to control the climate of the room and keep the temperature and humidity stable. This live audio transmission is a way to create a kind of energetic portal, allowing an institutional space that houses dormant recordings to disperse out of the walls and onto the airwaves, or perhaps rather to allow listeners inside these walls from afar.    

Artist bio:  
Kate Donovan is an artist and researcher based in Berlin working on and with radio, listening, ecological thinking, and the more-than-human. Much of her practice is together with others and circles around knowledge exchange and experimentation. She was part of the research group SENSING: the Knowledge of Sensitive Media (Potsdam), with a PhD project on "Radio as Relation", and is a fellow of the 4A_Lab Berlin, Institute for Art History, Florence - Max-Planck-Institut. She is also the co-founder of Radio Otherwise, an artistic research project motivated by the many knots which art, knowledge-making/sharing and communication encounter.    

Website/social links  
mattersoftransmission.net
https://www.instagram.com/mattersoftransmission/
https://www.khi.fi.it/en/forschung/4a-laboratory/2025-26/donovan-kate.php

1) Félicia Atkinson - Shirley to Shirley (4:14)
 
1) Félicia Atkinson - Shirley to Shirley
 
From the album 'The Flower And The Vessel ' 

I love spending time at home. For nearly 10 years now, right in front of our house has been a forest of evergreen broad-leaved trees in the satoyama. I can observe the lives of creatures other than humans there. During the rainy season, moss clogged our gutters, and the sound of raindrops falling through them began to create an unpredictable rhythm. I played the electric piano in my room while listening to the rhythm of the raindrops. My family recorded it on Zoom. When the “Higurashi” cicadas start chirping, the rainy season ends. It’s always like that. Collecting the sounds of my home and jamming with them soothes my sound-filled mind. The snoring of a friend who sleeps well at our house sounds like a didgeridoo player offering a prayer for a good night’s sleep. There are moments like my solo performance at YoshimiO at Shiso-kan, a place dear to us. And sometimes I go to a studio with people I trust and pour out my desire to bring all these sounds together. I love singing while channeling my breath through a flute—sometimes a KHEAN, sometimes an ARGOZA.

わたしたちの家で過ごすことが好きです。もう10年ちかく家の目の前には里山における照葉樹林の森があります。人以外の生き物の暮らしを観察することもできます。梅雨のあいだ、家の雨どいに苔がつまり、雨どいを通って落ちる雨垂れ音は予測のつかないリズムを刻みだしました。うちの雨垂れビートを聴きながら部屋の中でエレピを弾きました。家のひとはZOOMで記録しました。ひぐらしが鳴き始めると梅雨はおわります。いつもそう。家の音の収集とその音たちとのセッションは音にあふれたわたしの脳を癒します。うちでよく寝れた友人のいびきは良き睡眠がとれますようにと祈りのディジリドゥー奏者のようです。わたしたちの大事な場所、四三館でのYoshimiO solo演奏など。そしてときどき気の知れたスタジオにいき、それらをまとめたいという想いを吐き出します。わたしはわたしの呼吸を笛に通しながら歌うことが好きです。ときには KHEANに、ときにはARGOZAに。

YoshimiO _ Voice, Ereki Bass Tanpura, Keyboard Synthesizer, Electric Piano, Effects, Khean, Argoza, Minmin, Percussion
HAMA _ Reyong, Gangza
Kawamura Kohey-Sai _ Gangza
Engineered by Kabamix
Sound collected by Ooido Syoujou
mixed by YoshimiO
big thanks to shisokan ”四三館”
 
A Radiophrenia commission produced with the support of Creative Scotland.

1.   THE VOICE FALLING UPON REYONG (5’22)
2.   GANGZA PASSED BY (5’25)
3.   A BIG MARIMBA CARRIED BY. (3’45)
4.   THE HOUSE OF HIGURASHI. (5’27)
5.   THE SHISOKAN. (3’40)
6.   INORIBIKI (1’28)
7.   ALONG WITH THE RAINDROPS_#1. (3’22)
8.   ALONG WITH THE RAINDROPS_#2. (4’48)
9.   ALONG WITH THE RAINDROPS_#3.  (2’53)
10. ARGOZA GLIDES TO THE RAINDROP BEAT (3’06)

https://shochy.bandcamp.com/
https://www.instagram.com/emeraldragonfly/?hl=en

Medeterranea is a narration in sonic images of a journey through memories. From the macroscopic to the minute, between density and rarefaction, between the clarity of the soundscape and the analytical nature of micro-editing.

The piece is the result of research and a residency at the Groupe de Musique Expérimentale de Marseille (GMEM) in 2024.    

Artist bio:  
M.F. is an Italian musician, performer and composer working in the field of electroacoustic music. His acousmatic and audiovisual works have been featured at festivals across Europe and internationally. His practice engages with musique concrète for fixed media, exploring sound objects in their material and perceptual dimensions, in search of a language shaped by clarity, reduction, and structural precision.    

Website/social links  https://www.marcoferrazza.com/

1 Sofía Matus Cancino – Saturno (7:00)  
2 Melanie Sevcenko - Listen (2:21)    
3 Susanne Skog – Kontinenten (10:45)      
4 Stephane Borrel - La Grenouille de Lycie (The Frog From Lycia) (5:17)        
5 Moniek Darge – MaltaSoundies (7:20)

1) Sofía Matus Cancino – Saturno  
     
Saturno is an acousmatic work inspired by Francisco de Goya's painting "Saturno devorando a
su hijo". Using algorithmic composition, the sounds are presented and deconstructed by their original
signal.    

Sofía Matus Cancino is a Mexican artist based in Phoenix, Arizona, exploring the convergences of visual music, embodied sound, and algorithmic composition. Her work proposes environments shaped by the ominous, the intimate, and the displacements of contemporary life. Her work has been featured at SEAMUS, ARS Electronica, Visiones Sonoras, PRISMS, SPLICE, among others, and performed by ensembles including Bent Frequency, ACME, and the Low Frequency Trio. Matus has received awards in Data Sonification, Composition, and Artistic Career Achievement. She is currently developing her first EP under the Jóvenes Creadores Fellowship from Mexico’s National Fund for Culture and the Arts (FONCA).    

https://www.sofiamatusc.com/
https://www.instagram.com/sofia.matus

2) Melanie Sevcenko - Listen  
   
"Listen" is part of a larger literary audio project called "Educated Ear." Currently a work-in-progress, "Educated Ear" is my second poetry collection which contains five chapters – Listen, Field Recordings, Production, Mixing & Mastering, and Performance – with the 60-plus poems categorized into each section. The overarching themes of the collection include memory, archiving, recording, interpreting beauty, and the art of listening. Accompanying the collection is a "playlist" that includes ten of the poems produced as pieces of sound art, which will then become an interactive sound installation. "Listen" is a work of sound art produced from the first poem of the collection (also called "Listen"), which includes "instructions" on how to tune into the world around you.    

Melanie Sevcenko is an audio editor & producer, reporter, writer, and sound artist. Based in Portland, OR, she currently edits and produces Live Wire, a nationally-syndicated public radio variety program from PRX. She's also reported for numerous outlets, including The Guardian, American Public Media, NPR, BBC World Service, CBC, and Deutsche Welle, among others. As a poet, her debut collection "I Still Go to Bed with Water" was published by Unsolicited Press in 2022. She's also the recipient of a Portland Arts Project Grant and has attended several artist residencies in the Pacific Northwest.    

https://www.msevcenko.com/
https://www.instagram.com/melaniesevcenko/

3) Susanne Skog – Kontinenten

There was a continent. This is the sound of its absence.

There is a hole in this sonic texture. The contour of the hole follows the coastline of a fictitious continent. The form of this silent negativity shapes the gestures in this piece.     
Susanne Skog (Sweden) works with sound art, composition, and text, drawing on experimental radio, radio drama, documentary practices, and narrative art forms. Her sonic works are built from field recordings gathered around the world and transformed into spatial, immersive compositions that explore friction, resonance, and perception.
She is also an arts journalist and editor at Nutida musik and a teacher at the Electronic Music Studio (EMS) in Stockholm. She co-runs the project halffloor and is also part of the team behind the digital platform radioart.se.
Her work has been presented internationally at festivals, art spaces, and in radio contexts.    

susanneskog.se

4) Stephane Borrel - La Grenouille de Lycie (The Frog From Lycia)        

For example, it would be The Smiling Spider by Odilon Redon (Musée d'Orsay, Paris) or The Cyclops Polyp (National Gallery of Art, Washington): works which, from simple and realistic elements, make the strange or bizarre emerge – but without mockery, without sensationalism, without trying to be frightening; a kind of imaginary, “fantastic” animality, in the romantic sense of the term.
In a somewhat similar way, La Grenouille de Lycie (The Frog of Lycia) takes advantage of a young woman's rather peculiar laughter to give it a curious turn, and imply that the grainy and staccato squeak of the voice would be a croak. The title, a nod to a myth taken from Ovid’s Metamorphoses, thus suggests that the character would be both woman and frog.
In the coda, one hears an authentic pelophylax ridibundus (“laughing frog”).    

Stéphane Borrel lives and works in Lyon, France. He writes for different ensembles and diverse electronics, ranging from chamber music (Facétie, Extinction, Toutes choses ont leur saison) to the symphony orchestra (Faits de masque, Main-d’oeuvre), from mixed music (Orée, Prospectus in musica, Toute la mer) to sound installations (Smartland-Divertimento, Bascules) or acousmatic pieces (the Laughing Tonalities cycle). He was the prize-winner of the Phonurgia Nova scholarship in 2009, Hervé Dugardin Prize of the SACEM in 2013, and ULJUS electroacoustic composition competition 2024 (Smederevo, Serbie). He teaches composition at Conservatoire de Lyon (C.R.R. de Lyon).    

https://www.stephaneborrel.fr
https://www.instagram.com/stephaneborrelmus/

5) Moniek Darge – MaltaSoundies

The island of Malta, surrounded by the Mediterranean Sea, is extremely vulnerable to climate change. This threat is depicted in the soundscape MaltaSoundies realized in 2025.    

Moniek Darge Moniek Darge is active as composer, violinist, performer and audio artist. She has built light- and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. Darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. Since 1970 she has performed around the world and has been active on stage, first with the Logos Ensemble, then with Logos Duo, and the M&M robot ensemble. She also founded Logos Women Ensemble.    

https://www.logosfoundation.org/index-mon.html

6 Ben Gaunt - Artillery of Nonsense (6:02)        
7 Matilde Meireles - Two (Another Way)  (7:00)
8 Jai Martone - The Bells of Cappuccini (7:06)        
9 Bowen Wu – Scotory (6:09)

6) Ben Gaunt - Artillery of Nonsense
 
This piece is dedicated to my friend Rob Bentall, who describes my chaotic and bizarre sense of humour as an “artillery of nonsense.” We both work at Leeds Conservatoire and, as a result, he has often stayed over at my place. I have developed a habit of waking him with a deliberately awful playlist (Ben Gaunt’s Horror Show Chill Vibes 3000) a ritual I find far funnier than he does.
The piece draws on heavily processed fragments from that playlist, combined with a selection of unusual recordings I made over the previous two years, alongside a number of private references to my friendship with Rob.    
 
Ben Gaunt is a Yorkshire-based composer, sonic artist and improviser, and Professor of Composition at Leeds Conservatoire. His music has been performed internationally by the London Symphony Orchestra, London Sinfonietta, Psappha, the Ligeti Quartet, Rarescale, Grimethorpe Colliery Band and many others. His music has been broadcast on BBC Radio 3, premiered at hcmf//, and he has been nominated for a British Composer Award and an Ivor Novello Award. His electroacoustic work has been selected through international open calls, including winning Bent Frequency’s Underscore competition, leading to a performance in Atlanta.    
bengaunt.com
 
https://soundcloud.com/bencomposer
https://x.com/bencomposer/
 
7) Matilde Meireles - Two (Another Way)
   
Two (another way) is an improvisation built from loops I made of water movements and raw electromagnetic pulses, recorded with a VLF Antenna and electromagnetic sensor. These were transformed into drones, rhythmic pulses, and imagined animal calls.


It's the lead single from Four Tales, my new album coming out on 10 March. Two (another way) emerged from listening sessions I created for DRIFT, a collaborative floating architectural installation along Belfast's River Lagan that fostered new perspectives on city-river connections during summers 2024 and 2025. DRIFT was commissioned by Belfast City Council and brought together OGU Architects, MMAS Architects, and myself.    

Matilde Meireles is a sound artist and researcher who makes use of field recordings to compose site-oriented projects. Deeply exploratory, blending improvisation and other sonic flows with multiple approaches to recording, her work takes shape through live performances, installations, album releases, community-driven projects, workshops and both academic and creative publications.    

https://matildemeireles.com
@mtld_meireles (instagram)

8) Jai Martone - The Bells of Cappuccini    

'The Bells of Cappuccini' is a soundscape composition constructed entirely from found sounds recorded in the composer's ancestral village in Campania, Italy.
The titular bells are recorded at the village's historic Cappuccin monastery, located on a hill and immersed in its own citrus tree orchard, which dates back to the Renaissance. The piece takes its listeners on a journey through time, from the sibylline medieval settlement, to the sepia-toned scenery of the 20th Century, through to the bustling modern-day Italian kitchen - the nucleus of the family home. The sounds explore the sonic transformation that the natural landscape has experienced over generations of human activity, with evolution and change being constant. However, one thing is always certain - the seemingly omniscient bells of Cappuccini are ever present.    

Jai Martone is an emerging composer of Italian descent based in Cardiff, Wales, currently studying Composition & Creative Music Technology at the Royal Welsh College of Music & Drama. With a particular interest in sound art being a vessel for narrative storytelling, their music is frequently direct, unapologetic, ambitious and emotional, with references to their Neapolitan heritage often evident across their work. Their versatility spans soundscape composition, acousmatic music, electronic music using spoken word, and plunderphonics - a recent example being a work entirely from samples from the FX comedy horror series 'What We Do in the Shadows'.    
https://www.youtube.com/@JaiMartoneComposer
https://www.instagram.com/jai.martone_composer/

9) Bowen Wu – Scotory        

This radio work re-composes three recordings from the National Library of Scotland sound archive: a spoken broadcast (“BBC Town and Country VHF Area”), church bells (“Magnus Bells”), and fire engine bells (“Old Leith”).

As a foreigner living in Scotland, my relationship to this history is mediated entirely through recordings, documents and stories rather than lived experience. The archive becomes a place I can only access by listening. The bells function as temporal signals, while the broadcast voice appears as a distant authority, guiding the listener through fragments of place.

Through layering and displacement, the work constructs a speculative memory — an imagined Scotland assembled from transmission, repetition and acoustic traces rather than direct memory.    

Wu is a composer based in Glasgow. His practice explores sound art, electroacoustic composition, moving image and live electronics, often working with archival material, spatial listening and custom-built systems. His work has been presented internationally at festivals and exhibitions including ArteScienza, GLEAM Festival and the NLS Festival of Broadcast, as well as at conferences such as ICMC. He previously worked as a keyboardist and music director in live music contexts before moving toward experimental and research-based practices. Wu holds an MSc in Composition from the University of Edinburgh and is currently a PhD researcher at the University of Glasgow.    

https://bowenwu.uwu.ai/#

Broadcast: September 18th, 2022, Kunstradio

With the voices by Gérard Gorsse, François Villeneuve, Sandra Laborier, Delphine Dora, Esther Haller, Natalie Rubchenko, Necef Mengüverdi, Carlos Entringer, Rebecca Bremin, Daniel Pantaleoni, Sara Steinmoen, Odile Jacquot, Cécile Babiole, Gaëlle Coëffeur, Alice Quérel, Caroline Tricotelle, Corinne Castel, Marion Lacas, Véronique Guillien, Malika Lahcen.
 
Grotte song or the underground voices is a underground crossing, sung and sounded a cappella by a women's choir. The piece is inspired by medieval chansons de geste, between fable and sung poem, it tells the cave legend. The voices constitute the subterranean landscape, like the interior of an immense, vibrating and humid body.
 
Guttural, bony, blown and shouted voices inhabit this fantasized place, at the origin of our desires and our fears. We walk at a slow pace in the dark, along a deep and hoarse rale, attracted by the reassuring click of the water drops, the tongue slapping against the palate, close to the microphone. Then a voice crosses the cavity to our ears, powerful and sensual. To find our way back, we sing the ritornello, the one we have known since childhood:

This is the story I was told
It is possible that you know it
It happened in a cave
At the cave bottom she lived
In the cave she lived in peace
She saw no one no one saw her
No one had ever been there
It seemed that her look was killing
They always wanted to chase her away
They always wanted she never exist
All the time they condemned her
Of all the evils of all the sins
This is the story I was told
In the cave she lived in peace
In all times she was killed
Always she rose again
From her death life was reborn
 
https://www.kunstradio.at/2022B/18_09_2022.html

Time Grows By is an immersive audio drama conceived as a soundwalk, where listening becomes the primary narrative force and the listener’s body is part of the experience. Set in a garden imagined as a temporal anomaly, the piece explores a world where past, present and future coexist, interfere and take root.
Guided by a fictional character claiming to come from the future, the listener moves through shifting temporal states rather than a linear story. Industrial ruins, vegetation, water and unrealized futures surface and dissolve. Time no longer passes: it thickens, bifurcates and accumulates in bodies and materials.
Through poetic narration and spatialized sound, the piece destabilizes perception and invites pauses and moments of uncertainty. Originally created as a site-specific work, Time Grows By functions fully as an autonomous audio drama, proposing imagination as a form of care and resistance.    

Artist bios:  
Alain Damasio is a French writer whose work bends language toward politics, ecology and speculative futures, with a strong attention to rhythm, voice and collective imagination. Floriane Pochon is a sound artist, founder of Phaune Radio, where listening is treated as a form of relation rather than representation.
For over a decade, they have collaborated on sound pieces that unsettle linear narration and fixed points of view. Their shared practice weaves voice, space and sound into immersive situations where time slips, perception shifts and meaning remains in motion, inviting listeners to inhabit uncertainty and imagine other ways of being together.    

Website/social links   
https://phauneradio.com/en/
https://tarabust.com/
https://phauneradio.bandcamp.com/
https://instagram.com/phauneradio
https://www.facebook.com/phaune/
https://x.com/phaune
https://www.youtube.com/@PhauneRadio

"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.
Since the work is a catalogue, the individual recordings could be played either one after the other or interspersed between other works.      

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

1 Jonty Harrison - Postcards from Azet (10:00)
2 Ollie Hawker - Four Short Pieces for Somewhere Incredibly Far Away (10:46)    
3 Aleatory Music Systems (AMS) - Up/Down (7:79)    

1) Jonty Harrison - Postcards from Azet 

Four aural snapshots based on recordings made in and around the village of Azet in the French Pyrenees.

1. Openings – opening and closing the church door…
2. Bells – marking the approach of the hour… 
3. Fountain – a place to meet and chat at the centre of the village…
4. Valley – a plane passing high over nearby Vallée d’Arsoué frames the lazy soundscape of insects, birds and cowbells…

Postcards from Azet was composed for and premiered at Aure sonore: festival de paysage sonore, Azet, 2-6 August 2023.

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

2) Ollie Hawker - Four Short Pieces for Somewhere Incredibly Far Away     

Four Short Pieces for Somewhere Incredibly Far Away is a piece for singing percussion duo and electronics by Ollie Hawker, written for and performed by the Köng Duo (Bevis Ng and Hoitong Keung) as part of their joint residency at The Banff Centre for Arts and Creativity in Alberta, Canada.

It utilises text-to-speech, text-to-song and a really janky A.I. text generating software to sketch several miniatures exploring memory and distance in the digital self.

Four Short Pieces... is presented here alongside several interviews in which the duo talk about their memories of Hong Kong, bringing intimacy and meaning to such seemingly trivial memories as public transport.

Text by Thomas Lyle, Josie Rogers, Thomas Moore and Ollie Hawker.     

Ollie Hawker (he/him) is a composer and community music practitioner based in Glasgow. His recent work combines a sonic arts training in texture and timbre with a love of simple harmony and stillness. His music strives for a clarity that is both fragile and touching, likely to get blown away by a strong gust of wind.     

olliehawker.com
https://www.instagram.com/ollie.p.hawker/

3) Aleatory Music Systems (AMS) - Up/Down 

This new work from Robert Baldock’s ‘Aleatory Music Systems’ project takes its starting point with the Shepard Tone. The infamous aural illusion presents a tone that rises, or falls, infinitely.

By introducing the seemingly prosaic interventions of a porcelain butter dish being struck or being submerged in water, AMS conduct their customary exploration of the chaotic edges undermining the border territories of systems music. The work is an invitation to ponder time, and change, and movement. If sound purporting to be rising for ever is just a brief illusion captured in a loop, does it move at all? Can a sound, after all, exist outside of time?

Jez Butler: Mastering
Michael Begg: Narrative
Andy Fielding: Artwork
     
Robert Baldock is a Scottish-based new media artist who has worked under the name Aleatory Music Systems (AMS) since 2002. 

His practice explores the interface between order and chaos through improvised and semi-improvised structures shaped by chance operations. Works are created using Max/MSP alongside modular analogue audio and video synthesis, drawing on analogue synthesizers, General MIDI, shortwave radio, and field recordings. 
Since surviving a serious stroke in 2017, Baldock’s work has focused on the loss and reconfiguration of language and expression. Living with aphasia and verbal dyspraxia, his practice addresses disrupted communication, where intention, articulation, and comprehension no longer align.
     
https://aleatorymusicsystems.bandcamp.com/
https://www.instagram.com/aleatorymusicsystems/?hl=en
https://soundandmusic.org/discover/composer/robert-baldock/
https://britishmusiccollection.org.uk/node/67571

1 Melanie Sevcenko - Instructions for Finding Me on the Radio (4:09)  
2 Magda Lampropoulou - Reflections (13:00)       
3 Regan O'Brien & SM Milligan - Make up Play. A soliloquy on light and shadow (5:08)
4 Owen Duff - The Meaning of Alexa (Ambient) - Can we be happy? (7:06)

1) Melanie Sevcenko - Instructions for Finding Me on the Radio     

"Instructions for Finding Me on the Radio" is part of a larger literary audio project called "Educated Ear." Currently a work-in-progress, "Educated Ear" is my second poetry collection which contains five chapters – Listen, Field Recordings, Production, Mixing & Mastering, and Performance – with 60-plus poems categorized into each section. The overarching themes of the collection include memory, archiving, recording, interpreting beauty, and the art of listening. Accompanying the collection is a "playlist" that includes ten of the poems produced as pieces of sound art, which will then become an interactive sound installation. "Instructions for Finding Me on the Radio" is a work of sound art produced from one of the poems in the collection of the same name, included in the "Listen" chapter.     

Melanie Sevcenko is an audio editor & producer, reporter, writer, and sound artist. Based in Portland, OR, she currently edits and produces Live Wire, a nationally-syndicated public radio variety program from PRX. She's also reported for numerous outlets, including The Guardian, American Public Media, NPR, BBC World Service, CBC, and Deutsche Welle, among others. As a poet, her debut collection "I Still Go to Bed with Water" was published by Unsolicited Press in 2022. She's also the recipient of a Portland Arts Project Grant and has attended several artist residencies in the Pacific Northwest.     

https://www.msevcenko.com/
https://www.instagram.com/melaniesevcenko/

2) Magda Lampropoulou - Reflections 
 
“Reflections” is a sound performance with my upcycled kitchen tools and everyday objects as real musical instruments which took place on September 20, 2025 as part of the Processes Festival 2025. In this electroacoustic piece you can listen to some extracts during a 35-minute length performance which was presented at REVMA in Athens.
 
Magda Lampropoulou (b. 1977 Athens) is a sculptress and sound artist based in Athens, Greece. Her artwork engages with diverse, expressive media including audio, performance, sculpture, installations, and video. With emphasis on issues such as discrimination, prejudice, and moral values imposed by a given society, she assumes a humanitarian approach to her work.
She holds a degree in Sculpture from the Athens School of Fine Arts. Her participation in exhibitions, festivals, artistic radio podcasts and residencies (“Subset Festival”-Athens Epidaurus Festival/ "Tectonics Athens21", Onassis Cultural Centre/ "Works for Radio #4", The Lake Radio), has resulted in her identifying her work methodology.

https://magdoulas6.wixsite.com/magda-lampropoulou
https://www.instagram.com/lampropoulou_magda/
https://www.facebook.com/profile.php?id=100009992858432
https://www.facebook.com/profile.php?id=100063475181193

3) Regan O'Brien & SM Milligan - Make up Play. A soliloquy on light and shadow 
      
A woman reflects on herself as a young girl who is secretly watching her mother put on make up to go out. Her voice, my shaking breath, their voices, the voices of her ancestors attuning momentarily, in the fading light of dusk. A fragment of a memory unmoored from meaning, adrift in the telescopic reflections of a lineage of powerful women rebuilding their identities.      

https://smmilligancom.wordpress.com/496-2/
https://www.reganobrien.com/projects    
https://www.instagram.com/reganobrienmusic/
https://www.reganobrien.com
https://smmilligan.com
https://www.instagram.com/bethaniensdust/

4) Owen Duff - The Meaning of Alexa (Ambient) - Can we be happy? 

These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers. 

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.      

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com

The piece documents 11 days and 11 hours of my early addiction recovery and attendance at Alcoholics Anonymous meetings. It is based on an artswork experiment where I noted the thought, time and place of when I saw a feather on my daily routines around London. Sharing intimate inner thoughts within a delicate sound design frankly exposes the internal struggles of someone attempting recovery. Delivered in a calm (yet unsettling) Radio 4 Shipping Forecast/James Alexander Gordon-like tone, the radio piece will give listeners insights to the internal world of private thoughts that we all have.    

Artist bio:  
I am an artist working with sound, story, and social practice. My artswork navigates taboo, memory, grief, and the uncomfortable. Forms range from participatory performances and installations to sound design, audio collage, and live storytelling, often created with and around communities. Ideas I explore include kinship care, gay male experiences in white working-class contexts, addiction, recovery, and the social systems that shape these experiences. My current major projects are "Absent Fathers" (Birmingham Opera Company/Resonance FM), "Empirical Evidence of the Existence of Angels" (Naviar Records) and "Casting a Fairlight on the Time of AIDS" (New Note Orchestra/The Sunday Boys Choir/Routledge Books)    

Website/social links   
https://leonclowes.com/
https://soundcloud.com/leonclowes
https://www.youtube.com/@leonclowes
https://www.instagram.com/leonclowes/
https://recovery-arts.org/

Firework is a radio-based work developed from a live performance recorded during nights of civic protests against the Georgian government. The sound material is drawn from real-time radio broadcasts, live street reports, and audio streams captured directly from moments of confrontation between protesters and police. Fireworks, used in the streets as improvised weapons and signals, became a central acoustic element of the piece. The work was created through a method that depends on simultaneity and chance: modular synthesis and live signal processing were used to transform incoming radio transmissions in real time. The resulting composition could only exist under these specific conditions — when political events, broadcast signals, and live performance aligned. Artist bio:   Egor Sevastyanov is a sound artist, composer, and production sound mixer working across experimental music, radio practices, and film. He works with modular synthesis, live radio transmissions, and field recordings, often integrating documentary reality into improvised sound structures. Sevastyanov has worked as a production sound mixer on films screened at major international festivals, including a film awarded the Golden Bear at the Berlinale. Alongside his film work, he develops live performances and radio-based projects that explore chance, instability, and the sonic material of social and political environments.     Website/social links    https://egorsevastyanov.bandcamp.com/ https://www.youtube.com/@aeroegor