Wed 16

Midwinter: In these northern climes midwinter is a time of Inversion and strange magic. It is a time of opposites and anarchies, bright fires and feasts in the darkness and cold. A time of fortunes won and lost, visions seen, prophecies made and battles between elemental forces waged. Day turns to night and The Holly and Oak Kings, once again trade places . Spectral beings prowl the land and the Fool is made King. Midwinter, is the time of the Lord of Misrule, and the Wild Hunt. Some might think these as rude, Rough and Rusty relics of a former age.If they come, they come not: If they come not, they come.
With original material by Jon Colyer and elements of Being & Doing 1985 by Stuart Brisley and Ken McMullen    

Artist bio:  
The Spectral Transmissions Research Unit is a collaboration between Ben Branagan and Luke Pendrell dedicated to constructing, receiving and transmitting Spectral Assemblages, Producing both temporal artefacts and modes of experimental cognitive practice.
Each transmission develops through Spectral Assemblage, where fragments of everyday life gather in stochastic accumulators of latent potential, forming temporary constellations of association and alignment. These fluid states of indeterminism generate unexpected configurations, Denkinstruments enabling alternative modes of thought and meaning.
Before transmission, assemblages are collapsed or fixed. Broken symmetries crystallize into temporal moments. Fluidity is sacrificed to enable closer inspection of the encoded relations and emergent entanglements.
    
Website/social links   
https://theeluddpuca.cargo.site/
https://benbranagan.co.uk/
https://soundcloud.com/spectral-transmission

The bitter machine sputters on, humming a familiar melody as it lifts you into its realm. Here, you're bodiless, floating above an undefined reality. One in a million breaths. Humanity's final hoorah feels lonely, with only echoes of other worlds to keep you company. There's beauty but it's saturated with melancholy, tears welling up in your eyes, nuzzling your head against those closest to you. You cherish the warmth, wishing to remain with it. But things are moving fast, blindly, and clumsily. Un-focus then refocus your attention. You might find solace in-between the spaces, among the delicate unintentional sounds. Observe the creatures on the train platform, as each breath marks their revolt.

Composed of transient spaces, distal murmurings, fleeting memories, intimate moments, unintentional recordings, and creaturely intention.

Artist bio: 
From excursions into folk music and sound art, to broadcasting and programming at Subcity Radio, I'm surrounded by an incredibly active and subversive community of artists here in Glasgow. Three years ago I began developing my field recording and soundscape practice. Listening, recording, and re-contextualising has provided a means of exploring the essential ambiguity and obscured forces operating beyond ordinary perception. This is a world where space is inverted, time fails, and being takes on new forms.

Website/social links   
https://tobibelber.bandcamp.com/
https://play.reelcrafter.com/Tobias/tracing

“is this what i sound like? is this me?” is about searching and finding one’s way. M(K)G skip and swim around in sonic and electromagnetic waves, sometimes losing themselves.

The base of the piece is an improvisational set M(K)G recorded in their home studio with Meredith on vocal processing and Kenji on Fretware, Kenji’s self-designed instrument. Then, they transmitted the recording using a low-power FM transmitter in their kitchen, the room next door. With multiple other low-power FM transmitters, receivers, and microphones, M(K)G played with the ether in the room, manipulating, sculpting, and interfering with the recording’s transmission and reception. By moving throughout the kitchen and the house with the devices, the changing relationships amongst the transmitters and receivers emerged through surprising sonic moments. Meredith’s voice and Kenji’s instrumentation weave in and out of the electromagnetic fog, at times getting lost in the din.      

Artist bio:  
M(K)G is Meredith Kooi and Kenji Garland, artists based in Kingston, NY, USA. Meredith uses radio, sound, video, performance and movement, photography, and writing to explore and communicate raw, emotional, and internal experiences as they (sometimes) relate to history and society. Kenji plays synthesizers, samplers, percussion, electroacoustic feedback systems, and their own homegrown, flexible-but-specialized, ever-evolving electronic instrument system in multiple groups. Working together, they dive into the stuff of identity and memory, accompanied by all of its discomforts.      

Website/social links  
https://meredithkooi.us/
https://www.instagram.com/kooi_means_birdcage

https://kenjigarland.com/
https://www.instagram.com/synthetivv

This version of " OTHER VOICES - echoes from a war zone" is a remix by Gordan Paunovic of his 100-minute Live Kunstradio programme, originally broadcast on April 29, 1999 from studio RP4 in the ORF RadioKulturhaus, Vienna.

"OTHER VOICES: echoes from a war zone" fused pre-recorded and live information, comprising texts, music, interviews, ambient sound, and radio works, into a broadcast/webcast soundscape. The programme blended existing radio work from the KUNSTRADIO archives, with new work responding to the situation in the Balkans.

In 1999 KUNSTRADIO brought radio artist, GORDAN PAUNOVIC, to Vienna, to produce a special live radio mix of the program. Gordan Paunovic has a long history of participation in KUNSTRADIO projects. Until recently he was engaged with renowned Belgrade broadcasting entity, Radio B92, as the Head of the Music Department. Since the advent of war, Radio B92 has been taken over by a new management team with very different intentions to the original B92 operation, which itself has been locked out of its former premises.

"OTHER VOICES: echoes from a war zone" was globally accessible over the World Wide Web live. The webcast comprised images, texts and an audio visual broadcast from the Vienna studios. The audio program, and informational material contextualising the event was archived after the broadcast on the KUNSTRADIO website: https://kunstradio.at/SPECIAL/OTHERVOICES/index.html

Artists featured in "OTHER VOICES: echoes from the war zone" include: Arsenije Jovanovic, Gordan Paunovic, Ivana Stefanovic, Aleksandar Vasiljevic and Robert Klajn, from Jugoslavia and Agnieszka Waligorska/Pekka Sirén,(Finland), Dimitriy Nikolaev (Russia), Brian Conley (U.S.A.), Bob Ostertag (U.S.A.) and many more.

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/

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/

1 Lidia Zielinska - Lunches in Rejowiec (Obiadki w Rejowcu) (8:46)
2 Melanie Sevcenko - What This Means For Your Life is Nothing (10:35)
3 Petri Kuljuntausta – Aspen  (9:46)  

1) Lidia Zielinska - Lunches in Rejowiec (Obiadki w Rejowcu)
 
Mikołaj Rej (1505–1569) was the Polish poet and prose writer of the emerging Renaissance in Poland as well as a politician and musician. He was the first Polish author to write exclusively in the Polish language, and is considered to be one of the founders of Polish literary language and literature.
In my piece "The Lunches in Rejowiec" ("Obiadki w Rejowcu") I was inspired by some excerpts from his "Life of an Honest Man" ("Żywot człowieka poczciwego"). The fragments used in the composition are almost old Polish cookbook and from today's point of view, praised Polish cuisine and slow food.
Rej's text is performed by the famous Polish actor Krzysztof Kolberger, and I am slicing vegetables at the microphone.    

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

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

2) Melanie Sevcenko - What This Means For Your Life is Nothing
 
Decades ago, while traveling extensively in my mid-twenties, I visited with two “psychic” practitioners on a whim of curiosity: one in Austin, TX, who used crystal and light therapy to gather past life information, and the other a clairvoyant tea leaf reader on the Bruce Peninsula in rural Ontario, Canada. Remixing the original recordings of these psychic tapes, “What This Means For Your life is Nothing” is a dizzying collage of parallels, contradictions, and ethereal guidance from two outsiders on one young life, playfully commenting on the insolubility of mysticism.    

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) Petri Kuljuntausta – Aspen  

The work is based on two soundscape recordings I made in summer 2025: a huge aspen tree swaying in the wind on the shore of a lake, and early morning bird soundscape.

The work begins with the rustling sound field created by the leaves. When the wind blows, thousands of leaves beat against each other. As the protein-rich leaves of the aspen are hard, this produce rhythmic sounds when they hit each other. A wide "clapping sound field" is created. A few dotted water sounds and the splashing of water might tune the ear to the waves. But this is an illusion, it is the sound of aspen.

The second sound layer is a modified, abstracted and distanced, bird soundscape. This provided a starting point for new sounds generated with granular synthesis. The work ends as it began, with the sound of a huge aspen tree in the wind.    

Petri Kuljuntausta compose electronic music, improvises as a guitarist and with electronic instruments, plays with animals and birds, makes underwater performances, performs in different natural spaces with environmental sounds, and create sound art. Kuljuntausta is currently developing the technique on how to play as an artist with nature and animals: How to connect through sound to the sound processes of the environment equally and without disturbing the nature’s own sound processes. He is an adjunct professor in sound art and electronic music.    

https://kuljuntausta.com/

1 Nicolás Rey – Phenomena (5:27)
2 Tisa Neža Herlec – Dust (8:33)
3 Volker Ignaz Schmidt - Solfeggio Apparation II  (11:21)
4 Hans Parment – Roll (3:23)

1) Nicolás Rey – Phenomena

PHENOMENA is a single track from The Other-Voices, an Argentine research-based sound project focused on voice, listening, and technological mediation. Conceived as a sonic piece rather than a linear composition, PHENOMENA places radio practice at the center of its inquiry, approaching broadcasting and transmission as both material and method.

Built from radio signals, archival recordings, and processed vocal fragments, the piece engages with forms of vocal spectrality as media phenomena: fractured utterances, altered timbres, and residual presences shaped by tuning, interference, and signal decay. The voice appears not as expression, but as trace—marked by the technical and temporal conditions of radio transmission.

Rather than advancing a closed narrative, PHENOMENA unfolds as an open listening situation informed by media-archaeological thinking. Through its sonic structure, the piece invites a speculative mode of listening attentive to mediation, discontinuity, and the fragile thresholds through which sound persists and meaning momentarily takes form.    

Sociologist and sound artist based in Buenos Aires, Argentina. PhD candidate at the University of Buenos Aires. His work combines artistic practice, university teaching, and academic research at the intersection of sociology, sound studies, and media studies. He explores voices that insist on existing through deteriorated recordings, obsolete technologies, and sonic excess, where the recorded voice shifts from document to event.

Through radio practices, magnetic tape, and analog devices, he investigates vocal traces that persist within noise as forms of memory and mediation. His work also dialogues with projects such as Umbral and The Trace of the Siege.    

li.sten.to/nicolasmrey

2) Tisa Neža Herlec – Dust

Dust is omnipresent, dust is persistent, dust is a metaphor for community and action.
This participatory and partially improvised radioplay was made in one take, in a live setting, including the voices of the audience that constructed the polyvocal character of The Dust.
Direction and narration by Tisa Neža Herlec (Radio Študent, Ljubljana), the voice of the asthmatic by Lukas Simonis (Radio Worm, Rotterdam), recording and master by Ash Kilmartin (Radio Worm, Rotterdam). It was recorded in Divo Institute, Beja, Portugal in june 2025 during Let's do it Festival.

Tisa Neža Herlec aka Tisa World (Slovenia/Netherlands) is a multidisciplinarian whose practice weaves voice, language, print-making, performance, composition and collective endeavours. She loves to share her methods of creation and empower collective art-making and publishing, often within the context of performative arts and radio. Currently, she is a resident of Švicarija, MGLC (The International Centre of Graphic Arts) in Ljubljana, Slovenia (2025-2027).    

https://tisa.world/
https://www.instagram.com/_tisa_world_/

3) Volker Ignaz Schmidt - Solfeggio Apparation II  
 
The acousmatic composition is based on a piano part played by the pianist Friederike Wild. The sound material was electronically processed, alienated and enriched with binaural beats.
The piece uses the solfeggio frequencies as pitch material. In addition to the importance of these frequencies (ut, re, mi, fa, sol, la) in the teachings of the music teacher Guido of Arezzo, there is esoteric theory about the healing powers of these frequencies, such as "liberation from guilt and fear (ut-396 Hz.)", "miracles and signs, transformation, DNA repair (mi-528 Hz.)" or "the return to the spiritual, divine order (la-852 Hz.)".
Volker Ignaz Schmidt (born 1971 in Germany) studied computer science although his passion is music. He has composed solo works, chamber music, vocal pieces, orchestral music, chamber operas, conceptual and electronic music. He has written piano textbooks and he worked in school projects on contemporary music.    
http://www.volkerischmidt
vis_composer
 
4) Hans Parment – Roll 

Roll (composed 2019) commissioned work for opening of the new house for Swedish broadcasting (SVT) and the wall paintings. Collaboration with Martin Bornholm an visual artist who made mural painting with 12 different rollers with different sound. I sampled all twelve rollers under the working in progress in his studio and create piece, the working gestures is very import for the piece.    

Hans Parment has written music for a diverse range of performers and environments. His compositions cover the complete spectrum of instrumentation, from solo to orchestra. Parment also works with electroacoustic music, often combining electroacoustic treatments with instruments and as a flutist he also plays improvised contemporary music. Parment often works on interdisciplinary projects bringing together visual artists, contemporary dance, performers and video film makers.    

https://italienskapalatset.se/konstnar/hans-parment

The Animist Acoustics Series unfolds from a sound residency at ARLY in Sweden, developed through decolonial interviews and exchanges between Sámi and Mapuche perspectives. It proposes an intuitive dialogue between two ancestral cosmovisions that share an animistic understanding of the Earth, where rivers, stones, and winds are living presences.
Recorded along the Ångermanälven River, the main composition weaves voices, silences, and the murmuring current into a site-specific soundscape shaped by deep listening. A second piece, improvised inside the Svanö cisterns, unfolds through melancholic voices escaping an erratic heartbeat, seeking circular echoes within resonant space. Low tones from flute and piano strings fill the cavernous architecture with haunting vibrations.
Created through respectful exchange, the series connects distant territories, exploring cultural resonance without appropriation. Rooted in the artist’s mestiza identity and Mapuche heritage, it affirms sound as a space of resistance and spiritual dialogue with the Earth    

Artist bio:  
Natalia Rivera Riffo (b. 1982, Temuco, Chile) is a Paris-based sound and visual artist, researcher, and activist. Her transdisciplinary practice spans sound, performance, drawing, video, and writing through collaborative processes. Raised in southern Chile, shaped by Mapuche cosmologies and the memory of dictatorship, she conceives land as a living political and spiritual entity. Living with Bipolar Disorder Type I and Borderline Personality Disorder, and recognized with disability status, she explores cycles, rupture, vulnerability, and fragile ecosystems at risk of disappearance    

Website/social links   
https://linktr.ee/natalia.rivera.riffo
https://soundcloud.com/natalia_rivera_riffo
https://www.instagram.com/nato.rivera.riffo/

I placed microphone capsules under my shoes. Each step becomes a recording. We always leave a trace, whether we want to or not. To walk is to inscribe. To engrave a sonic imprint into the ground. Somewhere between soundwalk and field recording, this project tells of our way of inhabiting the world, by gently crushing it, step by step.    

Artist bio:  
Jérémy Chevalier (b. 1983, Ambilly, France) is a Geneva-based artist working at the intersection of performance, sound art, and installation. His practice explores stage presence and the spectacular, often using DIY techniques and repurposed objects. Works like Scratched Record and Concrete Music (vinyl cast in concrete) question archives and traces. Influenced by DIY culture and science, he humorously examines technology’s impact on perception. Performances such as Chaosphonie and Speaker Prélude blend robotics and storytelling. His unique field recording approach captures sounds beneath his feet (Il ne reste plus qu’à danser!). Since 2019, he has presented Spirale Névrose, a poetic solo.    

Website/social links   
https://jeremychevalier.net/
https://www.instagram.com/jrmychevalier/

 Manja Ristić tells the story of growing up in a sports family, with her famous water polo dad and Croatian freestyle swimming champion mom. In the overlapping narrative between two places – Belgrade and the small town of Korčula in the Southern Adriatic – the story tackles the golden times of Yugoslavian water polo, the community-built island’s club KPK, where her parents first met, and the only small-town club that won a major European championship, producing some of the most important players in the history of Yugoslavian water polo. It is the story of her father, the family, post-WWII Yugoslavia, her early childhood, the culture, and the society that vanished savagely with the outbreak of the ex-Yugoslav conflicts in the 1990s.

Script, composition, recording and editing by Manja Ristić for SEMI SILENT in the frame of SONIC SPORTS
Voices: Manja Ristić, Luka Bilbija, Mark Vernon
Mastering by Studio La Plant
    
Artist bio:  
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 Kunstradio – Radiokunst, Radio Cona, SEMI SILENT, Radiophrenia, Radio Art Zone, 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 the extended media [...]    

Website/social links   
https://manjaristic.blogspot.com/
https://manjaristic.bandcamp.com/
https://www.facebook.com/maaanjaaaa/
https://www.instagram.com/artar.veltemar/

A series of recordings made in cavities. An setup consisting of microphones and horn speakers carressing the treshold of acoústic feedback, revealing the architecture of these spaces, sketching their outlines and amplifying their voice.

Artist bio:  
Amber Meulenijzer investigates the relation between space and sound, using various means like field recording, horn speakers, various synthesizers and sometimes an old Saab 900. Her work always seeks to connect with the context in which it is developed or displayed, interacting with architectural elements and environmental sounds or dynamics, finding the resonant frequencies of different landscapes. She researches moving sound sources in her work Saab Sculptures, a travelling sound system interacting with its surroundings, and works on different installation and performance formats. Looking for the composition in each space, she is inherently an in situ improvisor.      

Website/social links  
https://ambermeulenijzer.be/

In 1675, at least 71 people—mostly women—were executed at what is now called Bålberget or Häxberget in the parish of Torsåker, Sweden. They were accused of witchcraft and sentenced to be burned at the stake. The work Brita Rölleker is neither a memorial, a tribute, nor a restoration. By weaving together human and more-than-human voices, the work explores interrelationality and the liberation inherent in the process of metamorphosis and constant becomings.  

The sound work consists of recordings of an Öxabäck loom,  field recordings from Bålberget and lists of the names of the executed, the places they came from, and the edible and medicinal plants used in the region at the time. Neologisms such as att rölleka (to yarrow), att tussilaga (to coltsfoot), and att forsa (to river) apply verb forms to plants and waters. In doing so, they renegotiate subjecthood and the distribution of agency, blurring the boundaries between human and non-human embodiments.
  
Artist bios:  
 
Linnéa Falck is an interdisciplinary artist and composer from Sweden currently based in Iceland. Her work encompasses sound composition, sculpture, site-respondent installations and ecosocial performances. She uses sound as her main medium to explore kinship and ways of listening with the environment, seeking to include more-than-human perspectives and intercorporal collaborations.

Simon Schultz is an improvising musician and interdisciplinary artist producing sounding installations, performances and multichannel audio works. By transducing mindsets, methods, aesthetics, and concepts across disciplines, he seeks to engage spaces, ideas and objects in curious and critical conversations.    

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

1) iT - Irena Tomažin - wanting needs - want it (2:17)
2) Nour Sokhon - Qulubuna قل و بنا
(2:51)
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Sakņu-Celmu (1:33)

 
1) iT - Irena Tomažin - wanting needs - want it
 
From the album 'Crying Games'.
 

2) Nour Sokhon - Qulubuna قل و بنا
 
Released on Zilza’s Sonic Ceremony V/A 001, November 27, 2024
All funds were donated to:
Sudanese Diaspora Network
Gaza Sunbirds
Team Congo
 
Based between Beirut and Berlin, Nour Sokhon’s practice draws on archival methods and the activation of inanimate matter as living narrators, taking the form of sound and music pieces, performances, interactive installations, and moving-image works. She earned a master’s degree of Design in Sound for the Moving Image from The Glasgow School of Art. She received the Emerging Artist Prize from the Sursock Museum in 2019, for a moving image piece entitled ‘Revisiting: Hold Your Breath’ and was awarded the Sound Art 2020 scholarship by Lower Saxony and the University of Fine Arts in يب†Braunschweig. In the fall of 2024 Beirut Birds / ط†ور†روت†Sokhon’s debut solo album, was digitally released on aural conduct and was produced with the support of the Arab Fund for Arts and Culture – AFAC.

https://www.noursokhon.com/
 
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Sakņu-Celmu  

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

A Radiophrenia live commission for Lost in Transmission.

Recorded live at the Andrew Stewart Cinema, Gilmorehill, Glasgow, 11th June, 2026.

Biography:

Cara Tolmie spends much of her time oscillating between contexts as a vocalist, visual artist, performer, pedagogue and researcher. Her works have been performed and exhibited widely at art galleries, music festivals, biennials, conferences and in the public space – both as solo presentations and collaborative projects.

Her practice at large investigates the complexity of the bind between the voice and body - of how voice can traverse internal and external realities of both the sounder and listener and how it can research various qualities of embodiment, both pleasurable and disorienting. Within this she often explores performative techniques that dis/reorient the listening relationship between the singer and their audience through live uses of defamiliarised, mesmeric and repetitive vocalisation. This investigation also extends into expanded installations that include large-scale textiles and sounding metal sculptures. In these installations, such forms create integrated listening architectures that shape how voice resonates through space, inviting audiences to encounter sound not only as performance but as a material, sensorial and spatial experience.

Cara is currently finishing a PhD in Critical Sonic Practice at Konstfack, Stockholm titled ‘Internal Singing - Sounding Through Vocalbody Disorientation’. She collaborates regularly with Rian Treanor, Stine Janvin, Susanna Marcus Jablonski, Em Silén and Julia Giertz. 

https://www.instagram.com/cara.tolmie

insula (n.) Latin, literally "an island" (also, in ancient Rome, "a block of buildings"); see isle. In anatomical use, the notion is "detached or standing out by itself." (etymonline.com). 

In June 2026, artist Viana Afoumou (vixnde) was sent to Scotland by Rotterdam-based Radio WORM to spend a week in Cove Park and to make a radio piece for Radiophrenia. Upon arrival, she disconnected her pink phone line (see bio), leaving her audience with an online voicemail box and the question: How do you isolate yourself in a hyper-connected society?

Fascinated in her youth by the tales of isolated adventurers, such as “The Consolations of the Forest” (Sylvain Tesson), “Into the Wild” (John Krakauer/Sean Penn), “The Call of the Wild” (Jack London), or “Walden, or life in the woods” (Henry David Thoreau), she came to Cove Park with a fantasy: Exploring new depths within herself through isolation, detached from the rest of the world, so to say “lost” in nature. Yet, she realised soon enough she would not be alone there. Not only was she sharing the space with other artists: Writer and producer Kate Bowen, visual artists Omid Asadi and Elham Rafiei, Roy Boswell, Maeva Totolehibe, Hormi Chen, artist and photographer Kate Bellanger and artist Caroline Galderisi. She also met all sorts of other residents among the different animal, vegetal, and organic species inhabiting the area. What does it mean to “isolate”, when being a part of, and surrounded by, ecosystems? 

“Life is a mystery. Everyone must stand alone. I hear you call my name! And it feels like…” (Madonna, Like a Prayer). Is this what solace feels like?

Bio:

Having been told since a teenager that her voice could sooth a stallion in heat, vixnde decided to take her talents seriously and to use them for the common good. In “Le Téléphone Rose”, your calls and voice messages (0909 - 7777 777, €0,15/minute) become an integral part of the radio show – streamed on Radio WORM and Operator Radio, two Rotterdam-based radio stations. Le Téléphone Rose is also a research project, questioning how we connect to each other in the midst of social media, and the (taboo) role of sex work in this search for connection.

*vixnde: pronounced viande [vjɑ̃d], meaning “meat” in French is the product of a lifetime by Brussels-born singer-songwriter Viana Afoumou. This neologism and analogy crystallises the discrepancies she experiences as a female artist; having realized that, to be a part of the music industry, she would have to brand, package and sell herself, all-the-while staying “authentic” and presenting original work. She decided to play with these contradictions, by becoming her own product. Her genre, Raw Pop, is a wink to the extreme categorisation of music, a pun to raw meat, and a reference to her sound. 

“Suddenly, I was surrounded by horses. I sat by the water to refresh my feet, then I laid down and I closed my eyes. After a few minutes, one of them came by and sniffed my nose. I was a bit scared but I stayed still. The horse was whispering a song”. - vixnde

https://vixnde-com.l.ink/
https://www.instagram.com/vixnde/

1 (CWxWC) - countermapping the ecotone (15:00)  
2 Cécile Lartigau & Andreas O. Hirsch - Horloge cassée (12:50)

1) (CWxWC) - countermapping the ecotone

 ‘countermapping the ecotone’ weaves together three landscapes, incorporating spoken word with field recordings from the unique ecotone at Cley on the North Norfolk coast, where vegetated shingle beach meets salt marshes; the port at King’s Lynn; and chalk pits in Cambridgeshire, to challenge nativist, border-centric conceptions of land, environment, and power.
Structured around three proverbs from Arabic, Sudanese, and Greek traditions that suggest what the sea can teach us about cyclical and linear patterns of time, connection, and community, ‘countermapping the ecotone’ explores the environmental and postcolonial significance of ecotones, ‘contact zones’ where biomes meet. This sonic act of countermapping aims to reframe borders and imagined differences in the face of techno-fascism, anti-migrant rhetoric, and climate denial.
Populated by the seen, heard, invisible, inaudible, and our imaginaries, the work muses on human and more-than-human movement and migration on our shores and at other contested and destabilised sites around the world.
     
 (CWxWC) is the collaborative project of artists, educators, and activists, Dr Cecilia Wee and William Crosby. Their work is concerned with how image, text, and sound move and operate between communities and the ecological, between the human and more-than-human, to conjure conditions under which critical, expansive, respons-able, decolonial listening can become embedded into everyday practices of coming together.

Dr Cecilia Wee is Tutor at the School of Communication, Royal College of Art. William Crosby is lecturer in music, sound, and media at Anglia Ruskin University, and PhD student at Creative Research in Sound Arts Practice, University of the Arts, London.    

IG @_CWxWC

2) Cécile Lartigau & Andreas O. Hirsch - Horloge cassée    

Horloge cassée is an excerpt from a program recently developed by Lartigau & Hirsch for their first concert in January 2026, marking the beginning of their new collaboration, in which they bring together two rare instruments: the Ondes Martenot and the Electrified Palm Leaf. The Ondes Martenot is a historic electronic instrument from the 1920s that is inherently monophonic and combines the world of early sound synthesis with the possibilities of a string instrument such as the cello. The Electrified Palm Leaf is an electroacoustic instrument with a warm, woody character, developed by Andreas O. Hirsch himself, offering a whole range of possibilities between abstract noises, rhythmic figures, and evocative soundscapes. Horloge cassé takes up the image of a broken clock and develops into a work in its own right, moving towards gentle, drone-like textures and signals.    

A rare ondist with a singular path, Cécile Lartigau positions her work at the crossroads of contemporary music, experimental improvisation, and the great orchestral repertoire. She has appeared alongside prestigious ensembles including the Vienna Philharmonic, Boston Symphony Orchestra, Berlin Philharmonic, among others. Andreas O.  Hirsch is a musician, visual artist and producer. With his homemade instruments and the use of effects pedals, he creates a playful space between electro-acoustics, experimental electronics, downbeat and non-Western influences. Hirsch is one third of the trio The Knob, The Finger & The It and runs makiphon, a label for experimental music.    

https://www.cecileondesmartenot.com
https://www.instagram.com/cecilelartigau_onde
https://hirschonhirsch.com
https://andreasoskarhirsch.bandcamp.com
https://makiphon.de

1 Heather Warren-Crow - Audio Evidence of Indefinite Universal Supplication Breakfast (12:00)    
2 Ivan Pisino - Beyond the Surface (14:00)    
3 jonesy jones - woolf worldings (1:14)
4 Junchang Zhang - It May Contain Something (3:52)
 
1) Heather Warren-Crow - Audio Evidence of Indefinite Universal Supplication Breakfast
 
Audio Evidence of Indefinite Universal Supplication Breakfast is an audio performance in which I recorded the intimate sounds of eating pancakes and sausage and drinking coffee while reciting the proverb "the voice of the people is the voice of God." A translation of the Latin vox populi, vox dei, the statement is contentious; as 8th century deacon Alcuin of York writes, "And those people should not be listened to who keep saying the voice of the people is the voice of God, since the riotousness of the crowd is always very close to madness." This phrase is particularly resonant in light of our fraught political climate (especially precarious in Texas) as well as the use of data mining techniques to extract the voice of the people from social media. But, which people? Whose voice? Radio, given its longstanding use for political purposes, is the perfect medium for this recording.    
Heather Warren-Crow is an artist and writer based in Texas in the US. Her work across performance art, sound art, video art, and experimental film foregrounds the voice and plays with sound-image relations. She has exhibited in galleries and in performance spaces, on screens and on stages, in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Taiwan, Trinidad and Tobago, and across Europe and the United States. Recent exhibitions include London Experimental, Venice Under the Stars, the International Kansk Video Festival in Siberia, and the New York City Independent Film Festival.    
 
2) Ivan Pisino - Beyond the Surface
 
In the Anthropocene era, where the all-powerful human being positions himself as supreme, erasing all other life forms, this piece brings together different levels of narrative, worlds that focus precisely on the invisible or on that which is made invisible.
In this biocentric dimension, there are frequencies that we have learned to ignore. These frequencies do not communicate human meaning; they are simply evidence of life happening, in the form of guttural, expressionless sounds and telluric movements.
It is a dimension that invites us to be listeners rather than narrators.    
 
Composer, researcher and experimental performer. His work has developed in the field of electroacoustic music, including acousmatic compositions, experimental performances with live electronics, collaborations with film and theatre, soundscapes and installations. His main interest is the manipulation of ‘sound objects’ through the design of generative algorithmic systems and graphic sequencers that create possible worlds.    
 
https://ivanpisino1.bandcamp.com/
https://soundcloud.com/naiv40

3) jonesy jones - woolf worldings

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) Junchang Zhang - It May Contain Something
 
Junchang Zhangb is a sound artist from China and currently based in New Zealand. This sound work mainly talks about a kind of intimate feeling beyond language.

Friar Bacon is trying to make a statue speak. Alone with his books, machines and a patchy understanding of the human anatomy, he sets out on an arduous quest to synthesise the human voice. As he traverses the deep history of speech science, his experiments grow unstable, feverish and strange.

Points of Articulation is an experimental radio drama exploring the politics and poetics of synthesised speech. Based on an Elizabethan stage play about a scholar who makes a pact with the devil to make a brass statue speak, the piece explores a history of speaking machines and our changing attitudes towards them.

Artist bio:  
Seth Scott is a sound designer and composer who uses programming, writing, audio recording, and musical performance to explore the manifold relationships between sound and technology. His work takes a range of forms, including fixed media and concert music, sound installations, interactive mobile apps and performances. Seth’s work has been exhibited across the UK in venues including the Barbican Centre, Serpentine Gallery, Bloomberg Space, and BBC Maida Vale. He works regularly with visual and mixed-media artists, producing sound and music for films and installations which have been shown in galleries and film festivals worldwide.    

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

Sirinu is a territorial recording project focused on ritual soundscapes of northern Chile or the wild heart of Qullasuyu, where the dead dwell alongside the living. It explores the places of sirenaje, which, according to Andean cosmovision, are those springs where the resonance of sound between stone and water reverberates the vibration of nature.  

Tata of the waters, ambivalent, polymorphic, who dwells in the rains, streams, springs, rivers and is master of music, for whom do you dance? For whom do you play?      

Artist bio:  
I was born in Santiago, Chile (1982), but grew up in Arica, a northern border city, a cultural crossroads between Chile, Peru, and Bolivia. There I experienced, often without knowing it, deeply significant processes for the social fabric of Abya Yala: rural-urban migration, acculturation, structural violence, and more recently, a revitalization of ancestral knowledge that today questions from a practical and situated search: how to regenerate that knowledge and turn it into action? How to embody a cosmopraxis?      

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

The soundscape composition H2O explores the element of water in its three forms: solid, liquid, gaseous. La Pesch takes the listener on a journey that starts quietly with footsteps on snow approaching landscapes of ice. Between their ears listeners travel from the Arctic, to glaciers that slowly melt, cracking, dripping, becoming streams and rivers that lead into the deep sea following wales and dolphins, shrimps, corals, into a kelp forest and towards the shore. By boat the trip continues to shooting geysirs until steam boats disappear in the distance and listeners are slowly washed ashore. The deep listening experience leaves space for the audience to immerse themselves, let thoughts drift, connect to their own ocean. States of aggregation change, connecting with the bodies through soundscapes and monotonous, slowly forming rhythms that may synchronise the breath and movements of the bodies with the water soundscape. What kind of state is water?    

Artist bio:  
La Pesch studied Anthropology, Political Sciences, and Philosophy. She was trained as voice artist by Alexis Krüger, learnt sound art from Chris Watson, Hans Peter Kuhn, Christina Kubisch and others. She works as sound and voice artist, author, director, and curator in the fields of radio, composition, installation, performance, and the walking arts. She works with high-quality field recordings, voice impro, experiments, and interviews. Her works oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. She sets in scene encounters and creates 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

Seconds Before the Storm is a large-scale electroacoustic (acousmatic) composition, running just over 45 minutes and structured in four distinct parts – each of which can also function as a standalone piece. It is, without a doubt, my most personal musical statement to date. Somehow, it encapsulates the emotions, experiences, and states of mind that have accompanied me over the past several years – joys, anxieties, and sorrows alike. When I began the first recordings for this piece back in 2018, the world around me felt far more stable, secure, and calm. Yet, I couldn’t shake the feeling that something was looming – something that would radically alter the order of things, that would mark the end of the world as we knew it and had grown used to. As if we were all living in those final seconds before the storm.

Part 1: When Yesterday Was Tomorrow
Part 2: The Loudest Silence    
Part 3: Mirrored in the Eyes of Prometheus    
Part 4: Stars Darker Than Black        

Artist bio:  
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.    

Website/social links  
Homepage: https://deemstudio.com/
Facebook: https://www.facebook.com/profile.php?id=100086282450366
YouTube channel: http://www.youtube.com/user/DeeMstudio

Stone Shadow wants to commemorate this atrocity with a surreal Eimo projector’s interview, which becomes a much serious remembrance. The work is based on footage material (atomic bomb detonation, extracts from eye witness, reports on the effects of the bombing) elaborated in counterpoints and, distortions and multiple exposures by mean of hand-print processes and other hand-on-film techniques.
All sounds on each section are printed on one single film stripe and there is no further digital manipulation of the sound. The multiple sounds are the result of the multiple exposure and other printing distortions.
The devastating effect of the atomic bomb on human bodies and the printing techniques on film resonate with each other, in both light, temperature, exposure, play a vital role. This work is an opportunity to reflect on the traumatic effects of the large scale devastation brought by wars.    

Artist bio:  
I am a composer, filmmaker, interdisciplinary artist based in Amsterdam.
Currently, I integrate analog film in my performances and works, using film as a living creature.
My narrative revolves around a nihilistic and existential interpretation of the individual, devoid of their past, identity, belonging, and memory. My artistic practice delves into the concept of mere existence, contrasting with the idea of existing in relation to something or someone. I investigate alternative forms of existing and expanding our perception of what we consider a living being, to find new unexpected connection with our world, from its finest particle to its whole.    

Website/social links   
https://cinzia-nistico.com/
https://www.instagram.com/cinzia.n.composer/
https://www.facebook.com/cinzia.nistico.1
https://www.facebook.com/cinzianistico.composer/

We will perform a live in-studio performance in which our own voices and found vocal recordings are processed and reassembled in real time. Working between Chicago and Glasgow, from two differently lived experiences of womanhood, we use radio as a site of modulation rather than fixed transmission. Through distortion, interruption, repetition, and bleed, the voice becomes unstable, never singular, never fully owned.
Narrative dissolves into texture. Presence becomes patchwork. What emerges is a feminine vocal field shaped by dis-junction and interference rather than coherence.
    
Artist bios:  
 
Sarah Lutkenhaus is a sound artist and designer whose work explores interiority, contradiction, and systems of memory. Through performance, archives, and voice, she investigates one’s position within networks of bodies and histories, creating subtle, textural works that resist resolution. She is currently based in Chicago, USA.

Nicky Lynch is an artist whose sound and music practice (Classifieds) utilizes field recordings, tape loops, electronics and ambient drones, layering and exploring ephemeral, archival and dissonant sounds through a lens of queer audiology and spectral, sometimes abrasive amalgamations. She is currently based in Glasgow, Scotland.
     

Website/social links  
@lutkie (instagram)
sarahlutkenhaus.com

@lunch_nicky (instagram)
https://classifieds.bandcamp.com/

1) iT - Irena Tomažin - outro- give up your crying game (10:43)

1) iT - Irena Tomažin - outro- give up your crying game
From the album Crying Games.

A Foreign Silence is an electroacoustic radiophonic work composed from voice, field recordings, and archival sound collected across Beirut, Palestine, and Vienna between 2023 and 2026. The composition draws primarily on material gathered through Do You Hear The Silence?, a participatory walk-in listening installation developed in collaboration with Joanna Zabielska during Sokhon's 2025 residency with philomena+ and kulturen in bewegung in Vienna.

Rooted in experiences of being silenced, A Foreign Silence approaches silence through memory, testimony, and lived experience. Drawing on archival sound, field recordings, and voices gathered through interviews, the work reflects on what emerges when speech is interrupted or withheld. It asks: what do we associate with the absence of sound? What can silence reveal? And how are experiences of silence shaped by geopolitical realities?

Music, sound composition, interview, field recording & sound collection: Nour Sokhon
‘Do You Hear The Silence?’ Inflatable sculpture: Joanna Zabielska
Photo documentation: Ibrahim Dirani Independent Space Index - festival - 2025 30.5-1.6.2025
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Based between Beirut and Berlin, Nour Sokhon’s practice draws on archival methods and the activation of inanimate matter as living narrators, taking the form of sound and music pieces, performances, interactive installations, and moving-image works. She earned a master’s degree of Design in Sound for the Moving Image from The Glasgow School of Art. She received the Emerging Artist Prize from the Sursock Museum in 2019, for a moving image piece entitled ‘Revisiting: Hold Your Breath’ and was awarded the Sound Art 2020 scholarship by Lower Saxony and the University of Fine Arts in يب†Braunschweig. In the fall of 2024 Beirut Birds / ط†ور†روت†Sokhon’s debut solo album, was digitally released on aural conduct and was produced with the support of the Arab Fund for Arts and Culture – AFAC.

She has exhibited her artwork internationally and performed in various sound/ music festivals including This Is Not Lebanon (2021), Punkt Festival (2023), Gaudeamus Festival (2023), United in Grief (2024), Vorspiel (2024), the Biennale d’Aix (2024), Salam Music (2025), Mapping Sounds in Exile (2025), IFFI (2025), Avant Art Festival Berlin (2025), Expressions D’elles #5 (2026), Sonic Acts (2026), Sauna Festival: Saturation (2026), Art Explora (2026) and Lips #3 - Souffle (2026). Her work has also been shown at institutions such as Spatial Sound Institute, Beirut Art Center, SAVVY Contemporary, Kunstraum Kreuzberg/Bethanien, Kunsthaus Hamburg, Silent Green, Henie Onstad Kunstsenter, GMEM, Frankfurt Lab, Künstlerhaus Mousonturm, Kampnagel Hamburg, neue Gesellschaft für bildende Kunst (nGbK) and La Condition Publique.

https://www.noursokhon.com/

Études for Synthesizer is a modular performance piece composed of three parts: two list poems, read in sequence; a series of brief sketches composed on an analog synthesizer, each attempting to abstract the sonic and kinetic qualities of running or dripping water; and audio documentation of myself performing a variation on Alison Knowles Fluxus work, Make a Salad, which has been subjected to algorithmic digital signal processing techniques. The resulting audio environment is one where the malleability and subjectivity of perception is explored in multiple ways. Recognizable sounds are manipulated into illegible noise, and back again. Societal, political, and cultural conventions are subverted and rearranged conceptually, through language, to expose the often arbitrary structures upholding them. Synthesized audio is worked into textures and rhythms that attempt to invoke cascading falls, dripping faucets, boiling kettles.    

Artist bio:  
Nathanael Jones is an Afro-Caribbean Canadian writer and artist. Born in Montreal/Tiohtià:ke, he holds degrees from NSCAD University and the School of the Art Institute of Chicago. Jones is the author of the full-length poetry collection Aqueous (The Porcupine’s Quill, 2024) and three chapbooks, Category Five Hurricane Alexa (Gordon Hill, 2025), La Poésie Caraïbe (Damask Press, 2018), and ATG (HAIR CLUB, 2016). His work has been exhibited and performed across North America and the United Kingdom, and has been published in DREGINALD, Ghost Proposal, Aurochs, Heavy Feather Review, TIMBER, Action, Spectacle, and Poetry Magazine.    

Website/social links  https://linktr.ee/NathanaelJones

"Channelling Airwaves" was commissioned by fellow artist Katharina Schmidt to create new "Channelling" piece for Deutschlandfunk Kultur / Klangkunst in co-production with Cashmere Radio.

The piece is composed from the sounds of analogue radio transmissions recorded in various locations in Bristol, UK, which have then been piped through a specific collection of devices salvaged from various media players with some link to music and radio. The devices are: a cassette player (which plays a tape loop of recorded radio sound), a MiniDisc player, a CD player and a record turntable motor, which in turn drives a second motor which becomes a dynamo.

The piece was then further developed for live performance and first presented in the You And Me Festival in Beijing, China in August 2025.    

Artist bio:  
Since 2005 Simon Whetham has developed a practice of working with sonic activity, often utilising environmental sound, employing a variety of methods and techniques to obtain unnoticed, obscured sonic phenomena.
His artistic investigations have led him to work increasingly in multi-disciplinary projects, especially since focusing on repurposing obsolete technology from 2018.
He performs and exhibits internationally, participating in Klangmanifeste (AT); You and Me Festival (CN); Chiba City Art Triennale (JP); Intermediale (PL); WIP Festival (CY); Sofia Underground (BG); Simultan (RO); WeSA Festival (KR); Sonica (SI), phonon~festival (CZ), Fresh Winds Biennale (IS), Nakanojo Biennale (JP), Tsonami Festival (CL) and Madeiradig (PT).    

Website/social links   
https://www.simonwhetham.co.uk/channelling-airwaves
https://bandcamp.com/simonwhetham
https://www.instagram.com/simonwhetham/

'The Ambience of Data' is a new soundscape composition consisting of field recordings that capture internal and external data centre sounds, and is part of our collaborative research project of listening to the digital (smart) city.  As researchers in sound and media studies, we are interested in interrogating the concept and aesthetics of ‘ambience’ as they are applied in relation to digital infrastructures and urban spaces, and in their resonances with ambient music, sound and listening. In sharing these recordings, we invite a listening with the materiality of the data centre, which stands as an intensely compressed site of power in the current era of surveillance capitalism, and yet as an externally quiet, concealed space, hiding in plain sight in the heart of urban centres.
    
Artist bios:  
 
Iain Findlay-Walsh (he/him) is a sound artist, musician, researcher and Lecturer (Assistant Professor) in Music at the University of Glasgow. His research employs sound-based and autoethnographic methods for the study of sonic experience.

Rebecca Noone (she/her) is a Lecturer (Assistant Professor) in Digital Media and Information Studies in the School of Humanities, University of Glasgow. She studies the banalities of digital culture.    

Website/social links  
https://www.gla.ac.uk/schools/cca/staff/iainfindlay-walsh/
https://www.rebeccanoone.com/

Broadcast: February 26th, 2026, Kunst zum Hören (Kunstradio)

"Listening to the complete soundscape of bustling Manhattan. Standing in the midst of the reality of a boundless reverberation chamber in Berlin. Hearing the ambient sound sung within the narrow cavity of a steel beam in an underground New York subway station as the train pulls in. Let the spatial image emerge from film scenes of *The Third Man* set in Vienna's sewer system. And follow the 437-meter-long and 20-meter-wide resonances—acting as a carrier medium within the cavity—as they carry the sound of car traffic and streetcars from one side of the Rhine to the other within the cavity of Cologne’s Deutz Bridge.

Spaces meet, clash, and push against one another in the inner ear—sometimes urgently, sometimes overlapping. The stereo listening space itself is understood as the ultimate abstraction of an otherwise 360°-surrounding, long-familiar sonic reality.”

Listening means scanning space with one’s ears, and according to artist Johannes S. Sistermanns, this is an active process. In the spaces surrounding us, there are distant sound events, a diffuse murmur. But there are also sounds very close by that have—or even require—a vast space behind them to capture their reverberation and bring it back to our ears. He calls his radiophonic exploration of spaces “raumtief.”

The following locations are featured:
- Manhattan, as heard from the 69th floor of Rockefeller Center
- Oratunga Station in the Australian Outback
- The Vienna's underground canal system beneath the covered Wien river, featuring the voice of Sistermanns (Thanks to the staff of the *Dritter Mann* tour!)
- A sound chamber beneath the Deutz Rhine Bridge in Cologne, over 400 meters long and 20 meters wide
- The reverberation chamber at SIM Studios in Berlin, also featuring its own unique acoustic character
- A stone artifact in Lärbro on the Swedish island of Gotland, believed to have been used in cult rituals
- A choir rehearsal at St. Severin Church in Cologne
- A pilgrimage church in Neviges in the Ruhr region
 
https://oe1.orf.at/programm/20260226/823462/Raumbilder

updaten tracken alignen
what an infinite jest! I AM. AM I AI?
as users of the digital universe
the consensus of try and error is part of real life.
every user is in charge of its own success
to navigate through the virtual universe.
well, take a seat and get used to your own failure.
bouger inhale reboot
penser une altérité.
welcome to our world full of feedback loops
as your own personal guide
for a whole déjà-vu experience!    

Artist bio:  
MME dUO are Patricia Koellges and Tamara Lorenz (since 2016).
With partly invented instruments, voice and electronics, MME dUO is on field research into fragmented language and sound collage. Set pieces of spoken words become signals, atactic accents form repetitive rhythms. A continuous run in dis and harmony with connections to ‚Musique concrete‘. MME dUO are Patricia Koellges and Tamara Lorenz, both also part of the former artist collective Sculptress of Sound (makiphon).    
Website/social links  http://www.mme-duo.de

Hard Facts TEL. ROYAL 7895 is a three part radio comedy series set in the world of retail. It takes the form of voice messages exchanged between the principle characters. Story synopsis John, Paul and their pals used to be in a group but that was a very long time ago. These days they’re working in retail. Well, John is. He’s trapped managing his former manager Brian's department store. It was only supposed to be holiday cover, but Brian’s gone AWOL leaving John holding the fort. Cast & Production All characters are played by Claudia Duffy, James Paris and Guy Gregory. Tel. Royal 7895 was written by Richard Thomas & Steven Parry and produced by Richard Thomas.

In six short episodes attention is given to doors and fences. You are taken to the women’s peace camp that was set up around the parameter fence at RAF Greenham Common in the UK, the steel slatted border-fence of US-Mexican border, the separation barriers surrounding Gaza and the West Bank and, finally, the closed doors confining women in Afghanistan. En route, the presence of the ‘space of the world’ makes itself felt and shows that, for all the barring, prejudice and sheer hatred, here is also and always elsewhere. Episodes: ep 1: Doors and fences 3.40 ep 2: Situating devices 3.39 ep 3: Never free of each other 4.06 ep 4: The space of the world 5.35 ep 5: There are no empty spaces 6.31 ep 6: Remaining present 3.18 Credits: Written, performed and produced by Yve Lomax Sound/Jono Lomax Script editing/ Vit Hopley    info@copypress.co.uk

1 Sofia Matus Cancino - La Zaguanería (7:56) 
2 Catherine Monahon and Lizzy de Lise - Conversations with the Material World: Glass Rope (7:14)
3 Mark Taylor - Climate Change Music #1 Monthly Global Temperatures 1850-2024 (13:53)    

1) Sofia Matus Cancino - La Zaguanería    

La Zaguanería is an exploration of architecture and time. Using concrete recordings of an architectural vestige of colonial Mexico—los zaguanes (sturdy wooden doors that once were the passageway from street to courtyards)—it amplifies the passage of time as their surroundings give way to industrial change.

All recordings were made in Tenango del Valle, Estado de México, in July 2025.    

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) Catherine Monahon and Lizzy de Lise - Conversations with the Material World: Glass Rope
     
We commissioned three sculptures from our community with the prompt to create an object that honors the material and the beloved process of the maker. Visitors listen in groups, guided through narration to touch the sculptures together; soundscapes include details, a story, found sound and music. This installation debuted at the Smithsonian’s Hirschhorn Museum & Sculpture Garden as an interactive experience, where visitors could touch and explore each material, guided by our narration and accompanying soundscape. Glass explores fluidity and memory. We commissioned the glass rope from Deborah Cseresko, a glassblower in Brooklyn, NY. We interviewed them for our podcast, Material Feels, and visited the studio while this piece was created to capture footage of the process. The soundscape incorporates elements of the material and the maker: reflective, reverberating, otherworldly, nonbinary and queer. The narration explores memory, transformation and magical realism.      

Catherine is an audio storyteller, arts facilitator and small business owner based in Oakland, California, USA. Using the intimacy of sound and the sensuality of materials, they create experiences that invite us to connect with our creative impulses, our bodies, and our spirits. Lizzy is an interdisciplinary, gender queer artist and performer who makes music for film/dance/theater/podcast, based in Philadelphia, Pennsylvania, USA. Their writing centers queer joy, embraces the inevitability of grief, and makes you shake your 🍑. Material Feels is a podcast exploring the intimate relationship between creatives and the material world, narrated by Catherine, scored by Lizzy.    

https://materialfeels.podbean.com/
https://www.lizdelise.com/
https://www.cxmproductions.com/

3) Mark Taylor - Climate Change Music #1 Monthly Global Temperatures 1850-2024  

The piece is a data sonification project that maps monthly temperatures from 1850 to 2024 to musical notes. A low note track indicates the passing of time. The trend of the notes goes higher and higher over the nearly two century time period and accelerates as we near the present day. Voiceover inserts explain the note mapping and provide environmental context for the music.
 
I have been a fine art photographer since the early '80s. I've exhibited photographs, installations and sound sculptures across Southern Arizona. Since 2020  I've been releasing electronic music as Whale of Noise. I also curate a streaming radio show of electronic, ambient and experimental music called All Sound is Music, available on YouTube and streaming on kpbj.fm    

Instagram @mark801
https://casualmatters.com/
https://whaleofnoise.com/ and https://whaleofnoise.bandcamp.com/

1 Peter Brooks - On The Edge Of The Land (14:27)    
2 Thanos Chrysakis - Meridian Shelter  (14:20)
3 Reuben the Organizer - A vida é sonho / Life is a dream (Waly Salomão remix) (1:21)  

1) Peter Brooks - On The Edge Of The Land

rising tide, gently lapping at rocks, with the quieter general sound of the sea in the background. The recording contains many bird sounds – both land-based such as Blackbirds (Turdus merula) and sea-based such as Oystercatchers (Haematopus ostralegus). Recorded at dusk as the birds chorus before nightfall.

A completely untreated recording made at the edge of the beach, with the equipment mounted on a tripod standing on rocks as the sea level rose around them with the rising tide. Recorded at Tarskavaig, Isle of Skye, UK.    

Peter Brooks is a Sheffield UK-based musician, sound artist and documentary-maker. He works using conventional musical instruments, synthesisers and other electronic instruments, field recordings and other found sounds. He also performs and produces under the name UpperHurst.    

2) Thanos Chrysakis - Meridian Shelter  
 
Exploring the depths and boundaries of the psyche through seven compelling electroacoustic compositions, Greek composer Thanos Chrysakis delivers a deeply psychedelic, mysterious, and immersive sonic journey, masterfully blending electronic textures and acousmatic elements that resonate within the listener's consciousness, psyche, and imagination — a vivid reflection on complex inner landscapes.    
Thanos Chrysakis is a Greek composer, musician, producer and sound-artist focused on electronic and contemporary music, improvisation, and electro-acoustic music.    
 
https://eternalmusicprojects.bandcamp.com/
 
3) Reuben the Organizer - A vida é sonho / Life is a dream (Waly Salomão remix)

Sound poetry piece based on a voice recording of Brazilian poet Waly Salomão (1943 - 2003), extracted from an interview in which he states, "Enough of this nonsense that the dream is over! Life is a dream! Life is a dream! Life is a dream!" A crucial figure in Brazilian counterculture, Waly Salomão was the son of Syrian migrants who developed a unique voice in literature and popular music. Here he addresses the famous John Lennon lyrics ("the dream is over") while quoting Spanish poet and playwright Pedro Calderón de la Barca ("La vida es sueño", or "Life is a dream", is the title of one of his plays), in a life-affirming protest. My own voice is used to create a phonetic riff, informed by an idea of poetry as rhythm and non-semantic verbal pleasure. The piece was presented at the Irradia radio-art festival in Brazil, 2025, and remains unpublished.    

Reuben the Organizer is the moniker of Brazilian electronic musician, sound poet, and multimedia artist Reuben da Rocha. Dreamlike states, hypnotic visions, and feelings of cosmic belonging are fundamental themes in his work. His output spans live performance, multimedia settings, free improvisation, radio art, and composition.      

https://reubentheorganizer.bandcamp.com
https://www.instagram.com/reubentheorganizer/

Russell Walker and Rebecca Mahay weirdo concrete spoken word pieces pulled from the confusing emotional wreckage of a previous era. The piece holds up a funhouse mirror to self-important monologues and self-depreciating goof while touching on alienation and existential themes.
     

Artist bios:  
 
Rebecca Mahay is an artist and performer born in Birmingham, UK of Indian-Punjabi descent. Her music as Wild Rani considers the black comedic drama of life alongside improvised and composed electronic sound abstraction as part of an audio/visual performance.

Russell Walker born in Hillingdon 1980, rock and roll bands The Pheromoans, Charcoal Owls , Lloyd Pack, solo album “Back to the Womb” Regional Bears, 2025; wrote the novel “When New Towns Act Tough.”
     

Website/social links  
https://wildrani.bandcamp.com/music
https://twitter.com/SavouryDays

https://regionalbears.bandcamp.com/album/back-to-the-womb

The Singing Glass is a monthly radio program broadcast on Los Angeles based KCHUNG investigating contemporary electronic moods and the various sonic zones surrounding - featuring (intermittently) a loosely episodic piece of the same name pairing new music by Roy Werner + recited work by Mac Katter - an interlaced surrealist narrative concerning those working on a corn farm and musings on weather. This particular episode imagines fragmented weather reports for the US prairie states as they weave through a narrative about a municipal election, ecological collapse and the battle for the very soul of the family unit - featuring intrigue.    

Artist bios:  
 
Roy Werner is a Los Angeles based musician and composer. In his 15+ years engaged with the electronic music community he has crafted tangled soundscapes as G.S. Sultan and under his own name. He continues to be drawn deeper by sound’s unique capacity for the transmission of psychic atmosphere and SOUL.

Mac Katter is an artist and writer. He lives in New York State.
    
Website/social links   
https://www.roywerner.com/
https://roywerner.bandcamp.com/album/
https://www.instagram.com/nwslimers/
https://www.instagram.com/popular_bus/