Fri 18

A NEW MYTH
Scrawled in spidery script on the torn remnants of the label on a scuffed C60 are the words:
PART ONE: historical development.
You take it home and press play: We found you! Thanks for subscribing! You'll receive an email confirmation in 1 hour.
For now, here is your 10% discount code to copy and paste at the checkout: A team of people standing around a table, actively participating in a discussion and exchanging thoughts. A man and woman stand on the moon, gazing at a photo of themselves, surrounded by the vastness of space. Congratulations, you have successfully adjusted your set.
Some listeners have been chosen arbitrarily. Others for their ability to haphazardly determine the thought of an era. A diverse group of individuals gathered around a table, engaged in conversation and collaboration. Please find herein directions for Irregular operational activity.
    
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

POND is a collaborative project by Rosie Carr and Pedro Figueiredo. We make field recordings using hydrophones, contact microphones and other tools such as biodata synths to tune into submerged ecologies.

This recording documents a live performance in which 3 Tascam 4-track tape recorders are used as instruments, playing tape loops of found sounds and homemade drum patterns. We incorporate handmade instruments constructed from organ pipes, fragments of recorders and pond pumps. We set up next to and amplified a pond for this recording.

Improvisation shapes the performance, creating an immersive sonic environment of imagined commons and untamed spaces.    

Artist bio:  
Rosie Carr is an artist, gardener and PhD researcher. She has worked on solo and collaborative sound projects for artists film, release and exhibition, as well as developing community sound workshops based in gardens, using plant material as tools, teachers and instruments. Pedro Figueiredo is a sound artist and software developer. He has long been interested in small sounds, which he finds are a great antidote to the modern demand for all the attention all the time. From January Pedro will start a PhD examining how sound can be used to foster civic participation and community development.    

Website/social links  
Rosie can be found on the web at https://rosiecarr.co.uk/ and @_rosie.carr on Instagram.
Pedro can be found on the web at https://straywool.com/ and @straywool on Instagram.

In our first workshop following our close friend and collaborator's Steve Guardino's passing in 2025 - a victim of road-rage shooting - Butoh Sonics weave
an auditory path informed both by his absence and Ashiki's body movement (in full costume - left to the audience's imagination!)  Mirroring the global reach of Butoh, its Japanese roots and Western influences, waves of improvised sound cascade with growing intensity, like the gradual shifting of the Transoceanic's radio dial deep in the night of my childhood's shortwave travels.  Snippets of conversation...noise...distant chants.  Shipping lanes, drifting signals...what will the waves bring next?    

Artist bio:  
The concept of blending post-Butoh body movement with ritual art noise was relatively new to the Phoenix, Arizona (USA) art scene when Butoh Sonics began in 2015. Butoh artist Ashiki (Eric Hodgins) and pioneer experimental noise artist Vic "Void" Alexander initiated the collaboration. Fellow sonic sculptors rampaNt (Steve Guardino) and PKWST (Parker Weston) joined them a year later.  The group employ conventional and repurposed objects to create a spectacle of sound and ritual dance theater. Butoh Sonics have performed in neighboring California and throughout Arizona, building a following unrestricted by boundaries of creative genre, age or gender.    

Website/social links   
https://butohsonics.bandcamp.com
https://www.facebook.com/ButohSonics

Klankhof / Soundgarden is an adaptive installation built around the sonic language of Selenium Dust Particle. It is conceived for a garden in Nieuwpoort, the hometown of Selenium Dust Particle.  The work presents sound as an architectural force: patterns expand, contract, and reorganize themselves in response to visitor movement. By integrating sensor-based interaction with generative sound algorithms, the installation operates as an acoustic ecosystem.  Selenium Dust Particle’s soundscapes—known for their granular detail and evolving layers—form the primary material from which this system grows.  In Klankhof / Soundgarden, the visitor/listener enters a continuously shifting environment where sound behaves like a natural organism, creating a space for contemplation, exploration, and heightened auditory focus.   Selenium Dust Particle : Klankhof / Soundgarden. (2026 - 53:10)

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/

“Psst!” is a four hour fluxus choir of over 1000 individually recorded voices.  During a 2025 installation at Nuit Blanche, Winnipeg, Savant Flaneur set up two large surrealist ears and people spoke, screamed, whispered, confessed, into the ears. Using Maxmsp, Savant Flaneur recorded each voice, slowed it down and pitch corrected, placed it into 8 voice banks, which slowly recorded over themselves throughout the evening.  This resultant recording is the documentation of the evening. Hard auto-tuned avant-garde Gregorian chant.  Each voice’s confession made beautiful and rectified through the communal experience of the choir.    

Artist bio:  Oft referred to as “chamber punk,” Savant Flaneur expels the dichotomy between western art  music and colloquial music scenes. Savant Flaneur is the idle virtuosi, ambivalent wunderkind,  aimless and gifted. Savant Flaneur is an experimental music collective working on Treaty 1  Territory.      

Website/social links  
Savantflaneur.com  
Instagram.com/savantflaneur  
https://savantflaneur.bandcamp.com

1 Marc Perez - Sounding My Voice (7:06)    
2 Tom Williams - Of Clouds and Clocks (10:48)  
3 Yuna-lee Pfau - isopod smoke (17:00)
4 Michala Henderson - Rehearsal for Company Phantasmagoria (2:03)      
5 Simon Opit - slowly closing aperture (21:40)
6 Paul Collins - Radio Spots - While They Last (1:00)

1) Marc Perez - Sounding My Voice

This is a piece surrounding the concept of communication barriers and the lack of accessibility that tends to exist not only in the teaching of language but in attempting to understand individuals as well. There is a process of unlearning here, unlearning to sing, unlearning what is pleasing to the ear & unlearning the focus on "I".      

marc perez is a west coast based composer, performer, improviser, author, curator and organization leader whose work is concerned with freedom of agency, interdisciplinary arts & improvisation.      

https://marcperezmusic.com/
instagram@mapmusiq or @marcperezmusic

2) Tom Williams - Of Clouds and Clocks

This acousmatic composition explores the conceptual tension between orderly determinism and the irregular, indeterminate realm of ‘clouds,’ drawing on the philosopher Karl Popper’s metaphor of ‘clouds and clocks’ and its musical reimagining in Ligeti’s Clocks and Clouds (1973) for chamber orchestra and choir.Translation operates as a guiding principle—moving between philosophical constructs and sonic experience, and transforming the mechanical precision of a clock into diffuse, spatially articulated sound structures. The work unfolds in a single movement articulated in two contrasting parts: an opening section dominated by cloud-like textures—formed through processes of granulation and spectral diffusion—followed by a second part where clock-derived materials assert greater clarity and rhythmic presence. The town clock in New Bern, North Carolina, provides a recognisable point of reference within a sound world otherwise shaped by obscured metallic and environmental resonances, their identities dissolved into atmospheric ambiguity. Through this interplay, the piece proposes an experiential continuum where temporal    

Tom Williams has composed music for acoustic and electroacoustic media since the 1980s. His work appears on Kitchenware, TEM, Cuillin Sound, and Albany Records, and has been featured at major festivals including ICMC, ACMC, SEAMUS, NYCEMF, SICM, Futura, and Sonorities. His music has also been presented at SABRE (Zurich), CMMR São Paulo, Music+Sound, and broadcast on BBC Radio 3. Williams has received awards from ALEA III Boston and the Città di Udine Medal, and was nominated for an Ivor Novello Award in Sound Art. His 2023 acousmatic work Piano Trace won the Special Prize at the 4th Ise-Shima Competition. He    

https://tw-hear.com/

3) Yuna-lee Pfau - isopod smoke
   
Isopod smoke is an audiobook that takes the listener on a sonic and lyrical journey through the landscapes of the Estonian oil shale industry.
The naration is based on a travelogue by the artist that combines their personal experience of their visit with theoretical thoughts and questions about oilshale extraction through following the symbolic figure of an isopod.      

Yuna-Lee Pfau is an interdisciplinary artist from Cologne who explores landscapes and marginal zones in their audiovisual video essays and installations. Yuna's central interest is how human-caused disturbances affect native ecosystems and how the network of multispecies stories can be narrated without centralizing the human perspective. They approach this question by combining documentary and fictional methods, which are transformed into videos, soundpieces, installations, and texts.

http://yuna-leepfau.de/

4) Michala Henderson - Rehearsal for Company Phantasmagoria    

An ambient track recording a stage performance rehearsal of the fictional theater troupe Company Phantasmagoria. Set in 1913 London, the Company puts on movies, stage performances, and recitals that are Horror themed. This audio piece is connected to a greater Visual Novel game concept-project that is currently in development.    

MaylaMuse (Michala Henderson) is an Atlanta based artist specializing in Illustration and concept design. She has received a Bachelor of Fine Arts from the University of North Georgia, with experience in both digital arts and acrylic painting. Mayla enjoys being involved in current pop culture scenes via social media and vending as an artist at regional conventions for the past several years. Her professional work focuses on the creation of diverse characters with heavy theming, vibrant environments, and whimsical scenes. She is the creator of Company Phantasmagoria, a visual novel game concept.    

https://www.instagram.com/maylamuse/

5) Simon Opit - slowly closing aperture

Field recording based soundscape exploring a narrative of neglect, loss and the problematic coexistence of the human and non human. Our shrinking and denigrated natural habitats offer less and less. And with it, our attentive practices and especially that of listening. Our imaginative horizons are growing dimmer. Our collective memory grows weaker. The slowly closing aperture of my life can draw little solace from the lengthening shadow.    

Sound artist originally from Australia but living in Scotland for 25 years having spent even longer exploring its high and empty places.    

https://simonopit.bandcamp.com
https://immaterialmountain.bandcamp.com

6) Paul Collins - Radio Spots - While They Last

This is a series of 17 one-minute radio-spots that use the radio itself as the primary source material. Random FM stations, in both Canada and France, were recorded and then manipulated using a variety of experimental methods and techniques. These one minute radio-spots are not designed to be played as a continous piece, but as individual elements, punctuating a day's programming or broadcast. A minute here, a minute there.      

Paul Collins is a Toronto-born, Paris-based visual artist and musician. His paintings are represented by General Hardware Contemporary, Toronto. His prints are published by Michael Woolworth Publications, Paris. His most recent recording, Bez Vremena (2025), with Quentin Rollet and Marija Kovacevic, is now out on Astre d'Or Records. Collins is an active member of the Paris experimental music scene, playing frequently in such venues as Les Instants Chavirés, La Guillontine, Le Non_Jazz, Le Chair de Poule and Le Peine Perdue. He was a member of the Glenn Branca Orchestra.      

https://www.instagram.com/paul___collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/
https://badge3.bandcamp.com
https://www.bisou-records.com/produit/paul-collins-patrick-muller-thierry-muller-quentin-rollet-correspondant-a-une-lettre/

Bug Poems leans towards sound poetry, exploring the voice, touching on strange emotions—the fear of the alien-insect, but also the fascination with it. It is an attempt to capture a feeling. The new album by FOQL is the result of months of research exploring poetry, pop culture, philosophy, and entomology in search of a new sonic and poetic language. Bug Poems moves between sound art and spoken word, weaving together strange emotions, fear of the unknown, and intimate reflection. It’s an audial poetry, where the voice becomes both instrument and narrative, and where insects turn into metaphors for our inner worlds.  It is a densely woven sonic narrative, exploring the radio play as a genre. 
 
1. mushi / lampa
2. Owady świecące
3. thirty-six million little animals flying unseen above one square mile of the countryside
4. seventeen year pitch
5. pa pa biedroneczko
6. ladybird!

Composition, voice & production by Justyna Banaszczyk aka FOQL

Recorded in Łódź 2025

saxophone in A2 by Marcin Garncarek, vocal & additional synth in A5 by Tomek Popakul, drums in A6 by Piotr Gwadera, vocal in B1 by Kasumi Ozeki, in B2 vocal by Xenon & saxophone by Natan Kryszk, percussion and vocal in B4 by Szymon „Pimpon” Gąsiorek, vocal in B6 by Edka Jarząb – love to you all <3

mix and mastering by Adam Badi Donoval
Artwork, layout and photography by Tomek Popakul

special thx for Darek and Miłek <3

Pointless Geometry 2025 / POINT#65

Bug Poems was realized with the support of an Artistic Scholarship from the City of Łódź.
    
Artist bio:  
FOQL stands for Justyna Banaszczyk – she creates within the realm of experimental electronic music. Co-founder of Radio Kapitał. Author of audio dramas, theatre music, and music for games. Her compositions resonate with echoes of IDM, industrial, ambient, leftfield but the most important factors are rhythmic and sonic inventiveness, as well as continuous experimentation. Sometimes she reaches for turntables and four-track tape recorders to create sound collages under the moniker Głupiec. She co-runs Pointless Geometry, a label that releases experimental electronic music from Poland.      

Website/social links   
https://www.instagram.com/f_____o__q_____l___/
https://soundsfoolish.com/

Ağıtlar (Laments) weaves together voice, music, and field recordings composed across different times and geographies. It began from a moment of dissonance in the northern Aegean: a radiant landscape overshadowed by nearby forest fires, with planes passing overhead to drop water. The piece holds this simultaneity of beauty, threat, grief, attachment, and lamentation. It reflects on destruction, care and on the fragile persistence of memory tied to places.

The composition combines newly recorded material made for this open call with earlier recordings and fragments. One segment includes “Orman,” a track by the duo İkili (with Andreas Reihse), originally contributed to a forest-aid compilation. Soundscapes are from the Aegean coast, California, Berlin, New York, Istanbul, Naples, Romania, and Southeast Anatolia. Conceived for radio, the piece draws on lament as a vocal tradition, sending fragments of loss and care into a shared but unseen listening space.    

Artist bio:  
Seda Mimaroğlu is an artist and poet from Istanbul, based in Berlin, working across text, sound, and image. Her practice moves between poetry, performance, and research, thinking about language, translation, mythology, and historical crises. With a background in comparative literature, art history, law, and philosophy, she weaves together artistic and discursive forms. Mimaroğlu is the founder of maḳām in Berlin-Friedenau, a space for art and literature, and maḳām editions, an independent publishing imprint. Since 2016 she has collaborated with musician Andreas Reihse as the duo İkili.    

Website/social links   
https://sedamimaroglu.com/
https://makam-berlin.org
https://reihse.de/ikili.html
https://mastodon.online/@seda
https://www.instagram.com/sedamimaroglu/

How might our relationships with minerals change if we could hear them speak? Pulling Blood from a Stone is an audio work which imagines conversations between groups of minerals across Earth’s history, from 2 billion years ago to a near future. Speculating on how minerals might view us, 4 fictional acts are book-ended by scientists’ and artists’ research about these materials. Set against extractive mining policies, and exponential mineral usage in contemporary technology, such as electric cars, this work flips the narrative onto raw materials becoming the voice and protagonists of their own narrative.      

Artist bio:  
Niamh Schmidtke (b. Dublin 1997) is an artist, lecturer and arts facilitator based across London and Limerick. They explore the politics of green washing, economic jargon and the language of democracy by examining the relationship between listening and speaking, to consider the kinds of voices that deep time, the sea, or humans could have with one another. Since 2021, they have run the radio project Future Artefacts FM with Nina Davies and Rebecca Edwards. They lecture at the School of Architecture, University of Limerick and are a member of Lewisham Arthouse co-op, co-facilitating the Arthouse’s graduate award with Sara Willet.    

Website/social links  
https://www.niamhschmidtke.com/
https://www.instagram.com/niamhschmidtke/?hl=en

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/
https://www.instagram.com/ambermeulenijzer/

1)  Elsa Justel -  Du Libe Tu (2:14)
2) Adam Mirza + Akiva Zamcheck - StudioNYC (6:58) 
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Vērmanes dārzs I  (1:40)  
4) Dosimat - Heading For Larbert (4:59) 
 
1)  Elsa Justel -  Du Libe Tu
 

2) Adam Mirza + Akiva Zamcheck - StudioNYC

Synopsis of piece:  FRL (aka "Fake Radiolab") is the name of an ongoing duo performance project in which we interrogate mediated “facts” through explorations in the podcast media form. Our project self-consciously addresses radiophonic matter as both our subject and form. The result is a technologically and culturally hybridized discourse in which power-symbols presented as performative utterances are subsumed within an assault of genres. In particular, we use audio production to highlight and amplify the transformation of text into performance, and performance into text, powerful manipulations which we see as ubiquitous and scarily efficient throughout contemporary media culture(s).

Artist bio:  Adam Mirza is a composer and sound artist who works with various media, including acoustic and electronic music as well as sound at the intersection of video, theater and installation. His compositional approach involves the re-configuration and abstraction of bodily gestures and politically charged or otherwise culturally resonant sonic media. Akiva Zamcheck is a musician and musicologist from Bronx, NY. His research focuses on contemporary music and urban political struggles. His creative work combines history, news/media analysis, and audio experiments.      

Website/social links   
https://academiccommons.columbia.edu/doi/10.7916/jqra-sq06
https://www.adammirza.com/outside-in
https://www.instagram.com/adamtahirmirza/?hl=en
https://music.emory.edu/people/biography/mirza-adam.html
https://music.lafayette.edu/people/akiva-zamcheck/
 
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Vērmanes dārzs I  

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

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

Website/social links  
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s
 
4) Dosimat - Heading For Larbert
 
A Collaborative ensemble of Dosimat is a polyglot depot for municipal events. 

A Love Supreme is a rewrite of John Coltrane’s album of the same name. L — the three-piece rock band that can’t help but fall apart — attempts to hold together a choir of ten. Each performer wearing headphones, responds to private instructions. Somewhere in the noise: A Love Supreme. Recorded live at Glasgow’s Glad Café on the 2nd July, 2026. A Radiophrenia commission produced with support of Creative Scotland. band/artist bio: L are a Glasgow trio made up of vocalist/ card magician Jack Paton, guitarist Jack Mellin, and drummer Laurie Pitt. Together, they perform intense, dissociative music that combines Paton’s confrontational spoken word with Mellin & Pitt’s blistering take on metal, jazz, noise and art rock. L are praised for their emotional live shows. Paton’s earnest vocals veer from cartoon-croon to body horror—set to the microsecond by Mellin & Pitt’s pinpoint shredding. Through explicit narratives and technical demolitions, L create a tragicomic theatre of existential pain and absurd freedom.

‘As the Spirits’ is a 6-part soundtrack composed by OOR_Scintilla for a short film project of the same name by Georgia Holman. The work is a poetic and sensorial meditation on spirits, communing with life beyond the veil, and the back-and-forth nature of moving through grief, hope, pain and desire. It asks: what is living? What is haunting? And how do we hold hope?
The experimental audio score moves with Georgia’s script in and out of the body in six chapters, drawing out shifting emotional and physical terrains within landscapes, voices, natural elements and instruments. Straying between the sonic energies and more-than-human presences of radiophonic exchange, it considers the body as a continuous broadcast and reception; a ‘thin place’ - where the lines between one world and another are imperceptible; where linear time is disturbed, and listening is felt as a companionship with the unseen.
    
Artist bios:  
 
OOR_Scintilla are an Edinburgh-based sound artist duo exploring the material poetics of sound, voice and place. Working improvisationally with forms of resonance across field recording, traditional instruments, electronics and vocality, they create environmentally-responsive audio work investigating hybrid and enigmatic territories, with reference to ancient folk origins.

Georgia Holman is a Glasgow-based artist, writer and creative producer whose practice centres honest expression, the fluidity of pain/pleasure and the necessity of collective care. Drawing on queer theory, disability justice and interdependency, her work questions how we can build compassionate structures of existence that foreground desire and strive towards loving futures.    

Website/social links  OOR_Scintilla:
https://soundcloud.com/oorscintilla  
https://www.facebook.com/oorscintilla
Instagram: @oor_scintilla

Georgia Holman:
https://georgiaholman.com/
Instagram: @georgiaholman_

1 alexis p.s. - upstate cattle raffle (butter worship) (14:18)
2 Memo Dumay and Ruth Oldham - Poste Tranformateur Electrique (8:28)    
3 Sibylle Pomorin - ...aber der Mond lacht gutmütig (5:17)      

1) alexis p.s. - upstate cattle raffle (butter worship)
     
Sampling audio from Werner Herzog's "How Much Wood Would a Woodchuck Chuck" and local news coverage from the unveiling of the 2017 New York State Fair butter sculpture, "upstate cattle raffle (butter worship)" ruminates on both the absurdist reimagining of industrial livestock farming as bucolic and homely alongside the reality that dairy serves as a tangible economic lifeline in rural communities across North America.      

alexis p.s. is Alexis Stroemer, a photographer, artist, and DJ based in Glasgow by way of New York. Blending the atonal and ethereal with the upbeat, playful, and percussive, their sound practice frequently draws from documentary media, language, and found textures. They are a resident on Radio Buena Vida with their monthly show "emulsion." Togther with slyn, they perform live as Double A and run Skinny Dipping, a gig series for women, trans, and non-binary artists working in the realm of experimental electronics.
 
https://www.instagram.com/stroemera/
https://soundcloud.com/stroemera
alexispstroemer.com

2) Memo Dumay and Ruth Oldham - Poste Tranformateur Electrique    

This sound work was created as a 'hörspiel' (experimental radio piece). It was composed using sound recordings made at an electricity substation in the suburbs of Paris, France, accompanied by a fictional text read by two voices. The voices in the piece talk about their feelings and impressions regarding the noise coming from a metal door in the street outside their window.
The piece is an investigation into continuum noises (hums) and their micro-variations, as heard close to electric transformer substations in towns around Paris. A fictional immersion into the unheard side of the city.      

Memo Dumay is a musician and composer for fields as experimental music, films and also deals as musician with projects in improv-music, post punk and avant rock. Originally from Chile based in France, Memo Dumay works on topics related to the ecology of sound and sound cultures, particularly those originating in his home country. He also approaches more abstract themes related to the intricacies of the phenomenon of sound to creates sound installations or multichannel sound works.
Ruth Oldham: Walking, writing / site-writing and feminist psychogeography & teaching and translating. Landscape and architecture and space and art (UK / FR)    

https://theatrum-mundi.org/library/the-background-buzzlistening-to-electrical-substations/
https://memodumay.tumblr.com/
https://www.instagram.com/_rutholdham_/
https://campsite.bio/memodumay

3) Sibylle Pomorin - ...aber der Mond lacht gutmütig  

When I started ‘...aber der Mond lacht gutmütig’ (...but the moon laughs good-naturedly), I had a number of sound files at my disposal, which I pieced together in a collage-like fashion. I began by selecting the shortest ones, gradually adding longer ones, and finally the longest. The piece thus has an aleatoric component—chance music. The interspersed words and phrases don't follow this principle; instead, I chose them intuitively. At the beginning, you hear many short breathing sounds and sibilants, the kind that occur when someone speaks. There are also some concrete sounds (a squeaking door, a spinning coin, a lighter, etc.), digitally processed electroacoustic sounds, and in some places you can hear conventional instruments (guitar, cello) The words and phrases that appear are completely unrelated and make no sense whatsoever. They are simply another sonic element.    

Sibylle Pomorin (*56) was already working as a guitar teacher at a private music school at the age of 15. From 1975 until 1980 she studied flute and saxophone at the Staatliche Hochschule für Musik in Münster, Germany. At the same time she played in chamber ensembles and jazz groups for which she also composed.

In 1984/85, she studied composition under Ernst Bechert in Hamburg, Germany and in 1994, she received composition lessons and an introduction to electroacoustic music from the American composer and electronic musician Alice Shields during a sixmonth stay in New York.

Between 1982 and 1994 she toured with improvising musicians of the international scene and toured with her own groups and compositions through Europe and Israel.

Since 1986, she lives in Berlin, the German capital, as a freelance-artist and composer. She received composition commissions for ensembles, festivals, broadcasting, and theatre as well as numerous prizes and awards (inter alia the SWF Jazz Prize and the first prize at international composition contest “Soundscapes voor 2000“ in the Netherlands) and was promoted by various working scholarships - inter alia in New York, Istanbul and Iceland. Scores publications and CD releases inter alia by Moers Music and in the Furore Verlag. Co-operation with musicians of the international improvisation and avant-garde scene. In 1992, Bavarian Television broadcast a film portrait of the artist ("Neue Töne aus Berlin", portrait of the musician and composer Sibylle Pomorin by Carla Kilian).

Since 1994, studies and productions in the studios of the Columbia-Princeton Electronic Music Center in New York, the Center for Art and Media in Karlsruhe, Germany, the Electronic Studio of the Technical University of Berlin, Germany, and the Nederlandse Programma Stichting in Hilversum, Netherlands, and in her private studio.

Her music has been performed at international festivals for contemporary music in Europe, Israel, Mexico, Australia, Canada, Georgia, Japan and the USA.

http://www.sibylle-pomorin.de
https://www.instagram.com/sibylle.pomorin/
https://www.facebook.com/sibylle.pomorin/
https://soundcloud.com/sibylle-pomorin
https://www.youtube.com/@sibyllepomorin9007

1 Stephen Roddy - 21, 7 & 3 (5:45)    
2 Vincenzo Arena - The cloud and the snail  (9.23)    
3 Douglas Taylor – Raincatcher (15:03)
4 Johannes Christopher Gerard – Conceive (1:00)    


1) Stephen Roddy - 21, 7 & 3    
 
21, 7 & 3 is a visceral sonic interpretation of the work of Jean-Luc Nancy. It emerged from a collaboration between AMAE, Pier Giorgio De Pinto and Jean-Luc Nancy for which the artist produced a series of compositions and installations between 2014 and 2022. Featured prominently here is the voice of Jean-Luc Nancy reading aloud his fifty-eight indices on the body, a series on short reflections on the body that explore themes of rhythm, noise, cycles, discontinuities, overlapping harmonies and, critically: the voice, as they relate to the body. Each index is enfolded in a unique soundworld that both reflects and elaborates upon Nancy's statements, embodying the rich layers of meaning that inhere in his work through the medium of sound.      

Stephen Roddy is a Composer and Engineer working in Sound and Music Computing (SMC) at the Radical Humanities Lab and the Department of Digital Humanities at University College Cork. His artistic projects span a variety of media and styles, including music composition and performance, generative and data-driven music, and sound art installation and performance. His work, described as majestic and sweeping yet beautifully unsettling, is frequently performed and installed all over the world. Recent events have included the ElettroAQustica 10 in L’Aquila, New York City Electroacoustic Music Festival and the Irish Museum of Modern Art.    
https://stephenroddy.bandcamp.com/
 
2) Vincenzo Arena - The cloud and the snail    

Inspired by this haiku written while watching a snail slide down a blade of grass with its antennae pointing to the sky
slowly gliding
a snail in the grass
follows the clouds    

Experimental ambient project built on sound overlaps, causal collisions and cosmic echoes.    

https://soundcloud.com/el-wud-1

3) Douglas Taylor – Raincatcher

Raincatcher is 15-minute sound art work composed from field recordings of rain captured beneath improvised sound sculptures. The sound sculptures are made with metal and plastic found objects. It opens with a single recording and gradually additional recordings are introduced, each bringing its own spatial character and timbre. Layer by layer, these sounds accumulate, overlapping and interacting to form a dense, shifting cloud of rain. Eventually it returns to a single recording and the sound thins and clears like a cloud dissolving back into air.

Ultimately, Raincatcher is about transformation and impermanence. It explores how fleeting natural events—like rain—are shaped through contact with the human world, briefly exist through our attention, and then dissolve. It doesn’t seek to impose meaning or preserve experience, but instead offers listening as a quiet practice of presence within a transitory world.    

Douglas Taylor is a Glasgow based artist and non-musician, interested in the sonic potential of discarded objects and the  interaction between the human and more-than-human worlds. Recent performances include "The Invisible Hand" (as Raincat) at the CCA— as part of Cryptic Nights and "The Trickle" —an outdoor sound sculpture— as part of the Sonica festival.    

https://soundcloud.com/raincat-306596410
https://raincat.bandcamp.com/

4) Johannes Christopher Gerard – Conceive
 
This work focuses on the representation of mental aspects associated with memories, such as thoughts and feelings, traumatic events or emergencies, and their impact on individuals (humanity). No actual sounds or noises of terror, war, or violence, nor witness testimonies or moral pronouncements will appear in this work. It is merely a whispered reflection on all kinds of memories of harsh, destructive misfortunes, including those related to terrorism, war, and environmental and climate disasters. Yet these memories offer neither solace nor hope. They leave only a void filled with unanswered questions.
 
Born in Cologne, Germany. He studied at Vocational College of  Printmaking and Design, Cologne, Germany and at the Dun Laogharie School of Art and Design (IADT) in Dublin, Ireland. Throughout his artistic career, he has lived and worked in various countries on five continents. He currently lives in The Hague, Netherlands. He only began exploring sound and electronic music in 2022, after participating in the sound project  "New Emergences" lead by German sound artist Anne Wellmer in The Hague, Netherlands. Since then, he has regularly participated in video, film, and sound projects, festivals, and radio programs worldwide.      
 
https://www.johannesgerard.com/english/audiovisual/sound-tone/
https://www.johannesgerard.com/

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

Abalone and after is a multi-movement work for speaking performer trio, abalone shells, and fixed media. It features text on Time Theory by Simone Weil, Henri Bergson, and Italo Calvino. Any of the movements for speaking performers may be performed on its own. Each performer is given two abalone shells and accompanying instructions related to the component parts of the shell. Through engagement with the shell as a complex form, the abalone’s timbral possibilities are expressed, allowing the shell to serve as percussive object and temporal symbol. The latter is accentuated through the use of text on the subject of Time, performed in a manner influenced by canons and fugues. Through this recitation, the semantic and sonic qualities of the text are explored simultaneously, mirroring the duality of the shell – as a musical instrument and remnant of the death of its inhabitant.    

Artist bio:  
Jeremy Wei Rosenstock is a composer/performer based in Los Angeles and La Jolla.

Jeremy received his MFA in Music Composition from CalArts and his BM in Piano Performance (with a composition concentration) from Vanderbilt University’s Blair School of Music. He is currently attending UCSD for the PhD Program in Music Composition.

His artistic practice is concerned with the use of natural objects in chamber music, waveform synthesis, feedback, and just intonation. His music can be found on People Places Records and Falt Records.      

Website/social links  https://jeremywrosenstock.github.io/index.html

1 Shan Lyu - The Sound that Constitute, Surround, and Surpass Us  (4:32)  
2 Emma Diamond – Lilith (4:52)    
3 Luiz Ribeiro Fonseca - Bewegung/Movement (Radio Essay) (4:08)        
4 Lee Hentze - gantae ih shop furra pintomilk n a loafabread (11:52)    
5 Mihnea Chelariu - The Flow (4:10)  

1) Shan Lyu - The Sound that Constitute, Surround, and Surpass Us    
 
The work is the composition of a series of listening materials from the world of movement and transportation, with its multifaceted landscapes of land, ocean, and sky, embodies the spirit of adventure. The sound sources are from the self-built antenna that collects signals from VLF radio stations in UK, public transport, and submarine sound. By setting up antenna, detecting the vibration of rails on underground and placing hydrophone under water, the methods for collecting these sounds are diverse and multidimensional. This sonic piece follows the travel route from a daily living spot to the out-of-urban radio station, gathering and integrate the dimensions of frequencies. This piece delves into the intricate web of radio and signals, a catalyst for human travel and migration. Beneath its surface lies a world of invisible networks and wireless signals, the conduits of information that sustain our journeys.      
 
Shan Lyu is a London-based Chinese artist, writer, and music producer whose multidisciplinary practice explores the intersections of sound, space, and information systems. With a Master’s degree in Fine Art from the University of the Arts London, she combines creative writing, sonic composition, and interactive installation to investigate how spatial structures shape perception and how information circulates within social and cultural contexts.      
 
https://www.cshanlyu.com/
instagram: @cslyu_

2) Emma Diamond – Lilith (4:52)    

This piece is inspired by Octavia Butler’s Adulthood Rites, a novel that feels especially resonant in the present moment. In Butler’s world, humanity has destroyed Earth and is “saved,” in a fragile and uneasy way, by an alien species.. only to continue repeating the same destructive patterns in an endless cycle.
The aliens exist in a fully symbiotic relationship with each other and with their environment. If humans could accept and embrace their way of living, it would save the species, yet the majority of them refuse this and opt for fear and violence instead.
This work draws on that idea: organic sounds and textures are interrupted, shaped, and sometimes amplified by digitally created elements, reflecting a tension between connection and control, nature and intervention.    

Emma Diamond is a multidisciplinary artist based in Glasgow, primarily working across sound, visual art and sculpture alongside her daily practice as a hairdresser. Across these disciplines, her work is informed by organic forms and textures, with an eager openness to chance and process.
This approach is central to her collaborative sound piece hair.wav (featured on Radiophrenia last year) which uses recordings of Emma cutting hair, stretched and warped to uncover the hidden textures within the sounds.
Emma also co-runs the Glasgow-based label Spritz Editions, whose latest compilation DWAM features an impressive range of Glasgow based artists.    

@emmadiamondhair

3) Luiz Ribeiro Fonseca - Bewegung/Movement (Radio Essay)

What is movement? ¿Qué es el movimiento? Was ist bewegung?
Four people give different answers to the same question. Through five languages (Portuguese, Spanish, English, Russian, and German), subjects such as sound, ancestrality, linguistics, and quantum physics emerge from the acoustic and imaginary water, connecting movement as a concept to a broader engagement with our environments. Field recordings based on soundwalks in London (Underground and Mile End Canal) and Southend-on-Sea are intertwined with an array of voices in motion. Ultimately, the radio essay invites the listener to move with the various accounts, linking their own ideas to this continuum. Although the sound piece (4:08) is autonomous, it can be accompanied by a one-minute teaser, which is attached here.

Voices: Ania Mokrzycka, Alexandra Basova, Helena Young, and Eliana Rosas

Supported by Sonário Urbano.
   
Luiz Ribeiro Fonseca is a Brazilian sound artist, researcher, and journalist. Currently a doctoral candidate at the Institute for Creative Futures - Loughborough University London and a Techne DTP scholarship holder, he investigates sound practices in Brazilian ecological activism. In his artistic work, he tries to bridge aspects such as voice, activism, phenomenology, and experimentalism. In a dialogic manner, the sounds guide the final result.    

https://www.instagram.com/algorritmos_/

4) Lee Hentze - gantae ih shop furra pintomilk n a loafabread    
 
electroacoustic composition composed of zoom handheld mic H4n recordings of audio recorded on a journey from my flat in a tower block in the city centre of aberdeen to the shop for a pint of milk and a loaf of bread and back.  all audio then edited and arranged in audacity.  was submitted and approved for obtaining my masters degree in sonic art at aberdeen university      
 
Lee Hentze is a multimedia artist who lives and works in the outskirts of Aberdeen. Working with sculpture, audio, video, and performance, his studio practice predominantly concerns itself with an interrogation of Human-Technologic relations within the un-natural history museum context. The research is informed by a sustained engagement with close reading skills of media critique and draws upon narratives of folklore, shamanism and cultural memory to propose alternative methodologies for ‘knowing the animal’.    
 
https://www.youtube.com/@FactoryFarmedCorpPolicyRobots
https://vimeo.com/user19152967
https://leehentze.wixsite.com/3-hz

5) Mihnea Chelariu - The Flow    

This piece is created by Mihnea Chelariu for SEMI SILENT in the frame of the project SONIC SPORTS (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.    

Mihnea Chelariu is a radio drama director from Radio România (the national broadcasting company) and a sound engineer with numerous national and international awards.    

https://www.facebook.com/mihneachelariu
https://www.instagram.com/chelariumihnea/

6 Millie Case - Lost Soundscapes of Labour (15:00)    
7 Noel Molloy - Curfá Breacadh an lae Cait (Cats Dawn Chorus ) (4:33)
8 Pete Stollery - Bosque (7:17)
9 Karen Predestin - Ambi Philosophy (2:04)

6) Millie Case - Lost Soundscapes of Labour  
 
This soundscape developed while exploring ideas around community and the loss of collective labour practices in capitalist times. Collective labour or 'meitheal' in the Irish language, was once an integral part of communities everyday lives. Communities would gather and engage in manual labour such as harvesting crops, scything or ramming an earthen floor. 'Meitheal' provides a space for connection and unity while achieving a collective goal. The duration of the 15 minute soundscape speaks to labour, time and rest. The piece focuses on three traditional collective labour practices of scything, cob making and felting. The soundscape is constructed with recordings made at cob and felting meitheal workshops I held in Dublin, April 2024 and three recorded work songs from the folklorist, Alan Lomax's archive. The soundscape echoes the threat of losing the sounds of craftsmanship, knowledge, conversation and connection audible within collective labour practices.    
 
Millie Case is an artist based in Dublin. Drawing inspiration from the rich cultural and material histories of urban and rural landscapes, her practice focuses on themes of public space, community and the commons. Millie's work seeks to re-connect the land, whether urban or rural, with its people. Exploring repurposed materials through traditional craft, sculptural interventions in public space and experimenting with sound, performance, workshops and happenings. This artistic ethos is combined with a growing fascination for third places and the deterioration of spaces for commoning, especially within an urban context.      
 
https://www.instagram.com/milliecaseart/?hl=en

7) Noel Molloy - Curfá Breacadh an lae Cait (Cats Dawn Chorus )
 
A conversation between two cats. Dual at dawn or not.    
 
Studied Limerick School of Art and Design 1978 – 1982,
Degree in Fine Art 1982. Born Clonmel County Tipperary Ireland.
Works in sculpture, film, sound, mixed media and performance art.
Exhibited and created Performance  throughout Ireland, Western and Eastern Europe and the U.S.A. Awards
Arts Council of Ireland awards from 1991 to 2006;
Americans for the Arts 1998 residence PA USA;
Cultural Relations Committee Dept. of Foreign Affairs Travel award 1993, 2003;V.E.C. from 1999 to 2006;
Roscommon County Council/ Arts Office Bursary  1999 to 2025.
Organized ‘Arts Cabaret’ numbering 20, 1997 to 2020,
Founder of Working Artists Roscommon 1990 artists group and administrator.
Member Visual Artists Ireland.
 
http://www.noelmolloyart.com
https://noelmolloyperformance.weebly.com/
https://www.noelmolloyart.com/audiograohy.html
https://www.noelmolloyart.com/filmography.html

8) Pete Stollery - Bosque
 
After listening for many hours to sounds recorded in the Parque Urbano El Bosque in Valdivia, Chile, recorded over the period of one year, I decided to create a piece which mixed sounds from different times of the day and different seasons of the year to create a hyper-real soundscape of the area. Certain sounds within the real soundscape are enlarged (car engines), placed in different locations (birds) and stretched (sirens), whilst the shape of the piece is created by the gradual accumulation of sonic activity in the new manufactured soundscape.
Many thanks to Felipe Otondo and his team for allowing me access to these wonderful recordings.    
 
Pete Stollery studied composition with Jonty Harrison at the University of Birmingham, where he was one of the first members of BEAST (Birmingham Electroacoustic Sound Theatre) in the early ’80s. He composes music for concert hall performance, particularly electroacoustic music and more recently has created other sound art work, including installations and internet projects. In 1996 he helped to establish the Scottish acousmatic collective invisiblEARts and in 2004 he was part of the setting up of sound, a new music incubator in NE Scotland. His music is published by the Canadian label empreintes DIGITALes.      
 
http://www.petestollery.com

9) Karen Predestin - Ambi Philosophy

VCV Rack, Logic    

Karen Predestin is a Haitian-American multi-hyphenated consultant at the intersection of brand, community, and storytelling across digital, physical, and hybrid spaces. The experimentalist is passionate about fostering authentic cultural connections in front of and behind the scenes in the fashion, music, art, lifestyle, and tech sectors to drive brand growth and scale communities, resources, representation, and community experiences.      

https://bio.site/karenpredestin

FRL (aka "Fake Radiolab") is the name of an ongoing duo performance project in which we interrogate mediated “facts” through explorations in the podcast media form. Our project self-consciously addresses radiophonic matter as both our subject and form. The result is a technologically and culturally hybridized discourse in which power-symbols presented as performative utterances are subsumed within an assault of genres. In particular, we use audio production to highlight and amplify the transformation of text into performance, and performance into text, powerful manipulations which we see as ubiquitous and scarily efficient throughout contemporary media culture(s).    Artist bios:     Adam Mirza is a composer and sound artist who works with various media, including acoustic and electronic music as well as sound at the intersection of video, theater and installation. His compositional approach involves the re-configuration and abstraction of bodily gestures and politically charged or otherwise culturally resonant sonic media.    Akiva Zamcheck is a musician and musicologist from Bronx, NY. His research focuses on contemporary music and urban political struggles. His creative work combines history, news/media analysis, and audio experiments.       Website/social links   https://academiccommons.columbia.edu/doi/10.7916/jqra-sq06 https://www.adammirza.com/outside-in https://www.instagram.com/adamtahirmirza/?hl=en https://music.emory.edu/people/biography/mirza-adam.html https://music.lafayette.edu/people/akiva-zamcheck/

Early spring. An NHS room in a private care home.

Curtain.
[Silence and hold for about five seconds.]  

Positioned by pillows, mam sleeps on the pressurised breath of an air mattress, which creaks methodically as it inflates and deflates. I sit in the silence beside her and listen. I listen to the bronchial wheeze of the bed, and I listen to mam breathing. I place a digital recorder on the cabinet between us, press record and release pause.

Curtain.  

I made this recording in 2011, but I did not listen to it. In 2023 I had this unheard breath transcribed to a wax cylinder, keeping it safe by placing it further from audition.

This audio essay attempts to listen to a breath never heard. It examines listening (and not listening), as a form of knowing, and an act of care. Based on a written text, the audio essay borrows the architecture of a radio script, mingling, voice, found sounds and obsolete media, with audible and in-audible sound works. This includes a new sound-piece made in collaboration with the award-winning Foley artist, Ruth Sullivan.

Sebastiane Hegarty Bio:  
Sebastiane Hegarty’s practice explores the materiality of sound, silence and loss. These sounding (and sound-less) works include the performance of failed phonographic objects, the publication of ephemeral text/scores, and occasional micro-FM transmissions, broadcasting from and to, landscapes associated with communication history. His work has been exhibited, transmitted, heard and unheard across the UK, Europe and America.
Sebastiane has a strong interest in practice as research, and has presented his research as performed texts at conferences and symposia, including the Radio Preservation Task Force conference at the Library of Congress (Washington, 2023). In 2022, his text work, ‘I am not imagining this…’ was nominated for ‘Best Imagined Sound’ in 'The Sound of the Year Awards.' It didn’t win.    

Website/social links: 
Instagram: @sebastainehegarty / @listenthroughthewaves / @practiceasresearch
Blog: https://sebastianehegarty.wordpress.com


Ruth Sullivan Bio:
Ruth Sullivan is an award-winning Foley artist with hundreds of TV & film credits to her name. She specialises in Live Foley and has a particular interest in developing multi-sensory and tactile experiences with sound and objects.
With a background in theatre, she performs, directs and choreographs, while recent productions as Sound Designer include Ink and Brighton Rock (Tower Theatre), One Day When We Were Young (Hen and Chickens) and falling for (Bridge House Theatre for The Liminal Space Theatre Company).
Ruth regularly collaborates with Simon McBurney (Complicité) on his production of Mozart’s The Magic Flute; and with Katie Mitchell, most recently performing in Katie’s sound show ‘Cow | Deer’ (Royal Court, London).

Website/social links:
Instagram: @rubyrocks76
Website: http://www.ruthsullivan.co.uk

A live-to-broadcast sound work that will explore what is designated as ‘historical’ and why. We will visit the Historic Environment Scotland (HES) Archives in Edinburgh, sourcing both found text to use in the performance and sites at which to make new field recordings.
 
Our collaborative test-pitting practice gestures towards the archaeological process of delving into a site of enquiry to reveal layers gathered over time, fragmented artefacts, traces of presence. We create a palimpsest of sound that combines composition and improvisation, and explore new or re-imagined lines of connection across time and place - in this case, specific places documented in the HES archive.
 
The live-to-air broadcast is an excellent forum for our test-pitting work. We value the way it allows us to convey a sense of real-time investigation into materials, with improvised elements capturing the sense of chance discovery and deeper excavation into themes.      

Artist bios:  
 
Nichola Scrutton is a composer and artist based in Glasgow.

Zoë Strachan is an award-winning fiction writer and librettist. She is Professor of Creative and Interdisciplinary Practice at University of Glasgow.

Nichola and Zoë have been collaborating since 2016.

Website/social links   
https://www.nicholascrutton.co.uk
BC: https://nicholascrutton.bandcamp.com
Newsletter: http://eepurl.com/gihZh9

IG: https://www.instagram.com/nic_scrutton and https://www.instagram.com/strachanzoe/

BSky: @nicholascrutton.bsky.social and @zoestrachan.bsky.social

1) iT - Irena Tomažin - intro- the crying game (2:13)
2) DSPSSSSD - Gone Viral (2:04)

1) iT - Irena Tomažin - intro- the crying game
 
From the album Crying Games.
 
2) DSPSSSSD - Gone Viral
 
From the album 'Offcuts From Reality'

DSPSSSSD (dispossessed) is the electronic concept of artist Aniruddha Das who creates tense, agitated soundscapes using layers of sampled noise. The idea emerged out of live sessions of his ‘mutant dancehallʼ project “Dhangsha” where he often plays non-metric passages to transition between his beat orientated tracks.

Using a piece of kit called the “Microgranny,” he explores the nether regions of sound: the cracks and crevasses that exist in a sample waveform. When he detunes an already lo-fi fragment, a foreboding landscape opens up, often with the release of significant artefacts. Real-time adjustment of the parameters - bit-crushing and granular shifting - creates a further sense of disorder.

For Aniruddha, the studio door always remains open to the world. “Offcuts From Reality” is a frequency analysis of the emotional and political state of Britain in the early 2020s. The insistent geiger-like glitch that permeates the set represents unprecedented levels of social anxiety and frustration, the brooding bass an all pervading sense of dread and the crush distortion spontaneous outbursts of anger and animosity.

The piece is constructed from raw, rough material—at times subtle and evanescent—that intertwines through successive transformations. Hence the title "Chacona," that Baroque dance based on variations of a single theme.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography

(Argentine-France) Doctor in Aesthetics, Science and Technology of the Arts at the University of Paris, Justel currently works as an independent composer and video artist. 

Her works have received numerous awards in international competitions, such as : Prix Ton Bruynel (The Netherlands-2005), International competition of electroacoustic music (Bourges, France-1989-2001), Stipendienpreiss (Darmstadt, Germany-1990)  and were commissioned by the French government and different European studios. She has developed a pedagogical and research activity at the Universities of Marne La Vallée (France) and Pompeu Fabra (Spain) and several European schools of music.

Recordings by Empreintes Digitales – Canada (imed-0785 / imed 9837 / imed19161) (http://www.electrocd.com/fr/bio/justel_el/discog/), and other publishers.

In 2007 she created the Foundation Destellos to promote electroacoustic musics and digital arts, organizing an International competition.
http://www.fundestellos.org/Bio.htm

Using Sounds which have been sourced from a personal archive of acoustic encounters accumulated slowly over many years, Dosimat incorporates field recordings, acoustic sketches, pastoral fragments, vhs tapes, ambient textures and slowly evolving drones with hypnotic rhythmic structures to create a long form sound collage.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:

A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.

ANTIPODES, who was awarded the Karl Sczuka Prize for best art radio music piece of 2020 is the the master piece of Frédéric Acquaviva, who follows his transgender and super experimental exploration of the frontier between music and sound art.
Divided into three parts dedicated to the three zones of a possibly divine, although very contemporary comedy (Hell / Purgatory / Paradise),
this 69 minutes opera for voices (with Joël Hubaut, who also wrote the text, Dorothy Iannone and Loré Lixenberg), dead electronics and video is the portrait of the world with all its dimensions concerning sound ecology, global crisis (dealing with pandemic, while written in 2019) and global pollution.      

Artist bio:  
Frédéric Acquaviva (born January 20, 1967) is a french sound artist living in London who works with voices, instruments, electronics, film and body sounds.
He was awarded the Karl Sczuka Prize (SWR / Donaueschingen) in 2020 for his radiowork ANTIPODES. His piece, Seminal, with ORLAN and 128 musicians, was produced by Deutschlandfunk Kultur in 2021 and figured Hors Compétition at the 2022 Phonurgia Awards.
Other radio diffusions include BBC3, France Culture (ACR), SWR...
Yoann Sarrat published a 300 pages essay on  "L'Art Sonore de Frédéric Acquaviva" in 2021 at Al Dante / Les Presses du Réel.    

Website/social links  
https://www.fredericacquaviva.com/
https://www.swr.de/swrkultur/hoerspiel/karl-sczuka-preis/overview-karl-sczuka-prize-2020-eng-100.html
https://www.cafeoto.co.uk/events/fruk-u-2/
https://www.laplaquetournante.org/m/antipod/hidd/index.html
https://wavefarm.org/wf/archive/2cc6jf
https://www.lespressesdureel.com/EN/ouvrage.php?id=7743&menu=2

In Algeria, burials are men's work, while crying is considered a woman's role. Eight-year-old Kenza travels to Algeria with her mother, Yasmina, in search of her origins and to honour her deceased grandfather. Through the reconstructed fragments, Kenza reconnects with part of herself. Using her pencils, she illustrates her findings with candour and wisdom. The documentary explores the universal need for rituals to mark the transition from life to death, transcending culture, religion, and gender. In Algeria, as in the rest of North Africa, cultural norms dictate the roles of men and women. Many women suffer from these traditions, which are steeped in stereotype, and want to change them so that they can play a visible role in funeral rituals.

With Jackal Productions
Editing: Roxane Brunet
Mixing: Yvan Hanon
Sound recording: Yasmina Hamlawi and Manuel Hermia
Musical composition and bansuri: Manuel Hermia
Daf and Bendir: Simon Leleux
With the participation of Kenza and Malika
Thanks to Fatiha and Jamal Ben Taher
With the support of SCAM, Fonds Gulliver and RTBF,
l'Atelier de Création Sonore Radiophonique and F A C R de la Fédération Wallonie Bruxelles.
Thanks to the Cimetière Multi-confessionnel de la Région de Bruxelles and Pompes Funèbres Islamiques de Belgique.
Photo Maël G . Lagadec
Video with subtitles : Zoe Suliko
   
Artist bio:  
Yasmina Hamlawi is a freelance journalist with a degree in international law. Her work focuses on women's access to fundamental rights in a globalised world. From the Arab world to India, from Bangladesh to Iran, Yasmina writes about people and their struggle for life: social equality, migration, access to water and education, climate impact...
During her reports, she decided to swap the pen for the microphone and made her first creative documentary "The Price of Exile".
Through her radio creations, Yasmina continues to give voice to the voiceless and to deal with non-visible, almost unspeakable subjects. She explores sound territories to give strength and accuracy to the story.
"Pearl", her second radio documentary, was awarded the Grand Prix of URTI 21 radio and the Prix Europa 22, the german version made by Annika Erichsen won the Civis media price 24. Her last documentary “Rain on the dead” was elected best radio documentary of the year in France by Scam – the French Copyright Society - in 2025 and won the commendation price at Prix Europa 2025.
 
Website/social links  
https://yasminahamlawi.com/pleuvoir-sur-les-morts/
https://www.facebook.com/yasmina.hamlaoui.1/

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.

ON BEING A GENIUS LIKE WOT I AM consists of a series of interconnected audio reflections on the “tyranny of positivity” and the barriers to genuine creative autonomy, exposing how enforced optimism can serve as a gatekeeping mechanism that marginalizes dissent and masks systemic unfairness.

A distinctive feature of Johnny 'Eliphaz' Oatcake’s work is its application of high theory to low culture. In essays like “Thus Spake Desperate Dan,” Oatcake employs the frameworks of Walter Benjamin, Jean Baudrillard, and Mark Fisher to reinterpret British pop culture icons as sites of philosophical inquiry. This approach bridges the the gap between academic discourse and everyday experience, suggesting that the boundaries between “high” and “low” culture are both porous and politically charged. 
 
HERE’S JOHNNY -

The literary colossus and cultural polymath Johnny ‘Eliphaz’ Oatcake was born in Yemen in 1962. He has pursued a varied career, including work in the arts (1979–1991), humanitarian efforts (1991–present), and service with the Cross of Light Temple (2003–2017) and Sheffield Patrol Group (2017–present).
His interests include crystal balls, mirror balls, garden gnomes, polished leather, and black velvet. A formative childhood experience involved acquiring and subsequently discarding a crystal ball and velvet bag, the whereabouts of which remain unknown.

Oatcake is descended from Tam Lin and the Queen of Elphame on the maternal side, and from a paternal grandfather who organized rural gatherings in Staffordshire, Shropshire, and the Peak District.

ON BEING A GENIUS LIKE WOT I AM is a tribute to the complexities of contemporary life, creativity, and cultural critique, in which a diverse collection of commentators attest that Johnny ‘Eliphaz’ Oatcake’s work stands as both a personal testament and a sharp dissection of the world’s shifting landscapes—urban, psychological, and spiritual.

At its core, Oatcake’s writing is a meditation on authenticity in an era dominated by superficiality, commercialism, and the commodification of creativity. Oatcake’s voice is at once irreverent and deeply intellectual, moving seamlessly from biting satire—such as the “C*** Detector Test” and lampooning of literary and musical institutions—to earnest explorations of trauma, resilience, and the search for meaning.

The texts addressed in ON BEING A GENIUS LIKE WOT I AM consist of a series of interconnected essays and artistic reflections. Early sections critique the “tyranny of positivity” and the barriers to genuine creative autonomy, exposing how enforced optimism can serve as a gatekeeping mechanism that marginalizes dissent and masks systemic unfairness. Oatcake’s own creative struggles are laid bare, documenting cycles of enthusiasm, dissatisfaction, and eventual abandonment—a process that questions whether true liberation is possible through art or if it is forever out of reach.

A distinctive feature of Oatcake’s work is its application of high theory to low culture. In essays like “Thus Spake Desperate Dan,” Oatcake employs the frameworks of Walter Benjamin, Jean Baudrillard, and Mark Fisher to reinterpret British pop culture icons, such as the cow pie eating hero from the Dandy comic, as sites of philosophical inquiry. This approach bridges the gap between academic discourse and everyday experience, suggesting that the boundaries between “high” and “low” culture are both porous and politically charged.

Oatcake also delves into the lived realities of subcultural life, particularly through the lens of the Chapeltown Punx and the impact of political unrest in 1980s and 90s Britain. Here, the author is gritty and multi-voiced, exploring the dissolution of ideals and the commercialization of art as a loss of cultural soul.

Withdrawal and disconnection are recurring motifs, most notably in Oatcake’s ethical departure from social media platforms, which is framed as a modern act of resistance akin to historical boycotts.
 
Throughout, Oatcake’s writing is marked by a visionary, incantatory style reminiscent of William Blake. Ordinary urban details are transformed into sites of cosmic significance, and the mundane is rendered mystical through dense, imagistic prose. This stylistic choice is not mere ornamentation; it is a deliberate rebellion against the homogenized language of neoliberal society and a defence of the layered, authentic realities that persist beneath the surface.
 
Website/social links  
https://sheffieldpatrolgroup.wordpress.com/
https://sheffpatgrp.bandcamp.com/
@sheffpatgrp.bsky.social

1 Chary Goodwin – Frangil (2:09)      
2 Stuart Low - jd sample embers (1:08)  
3 Cameron Naylor - Here One Moment (10:00)        
4 Ryan Eilbeck - Sentimental Penny (6:38)
5 Hans Parment - Short Cuts (8:18)
6 SASOR – ROSAS - AO CONTRARIO (5:03)  

1) Chary Goodwin – Frangil    
 
A sort of series on 'sound journal-ling' I've been doing that involves collecting sounds that are common in my life. The main sound which anchors the entire track is my personal dialysis machine that I sleep next to every night. The machine forms the body of the song, much like the way it is functionally a part of my body as a disabled person.    
I am an artist who lives and works in Canoga Park, California. My work touches on many mediums from ceramics, fibers, video, sound, printmaking, and performance. My work deals with themes of the body, disability, spirituality, death, and mortality.      
 
https://www.instagram.com/homunculuscrafter/
https://soundcloud.com/chary-sesay
https://soundcloud.com/zxiat
 
2) Stuart Low - jd sample embers
 
Stuart Low is a regular Radiophrenia participant and contributor.

3) Cameron Naylor - Here One Moment      

A postcard to Wales.
Hiraeth can be interpreted as a homesickness for a time and place that exists only in one’s memory. A nostalgia that rears its head at unexpected moments, shifting shapes as contexts change and memories form new meanings. 
 
Using the home as an allegory for hiraeth, sounds were selected for their capacity to draw forth strong personal memories. These materials are recontextualised as we venture through the living spaces, becoming tinged with new emotions and associations as the environment shifts around them, each transformation revealing new emotional nuances of hiraeth.     

Cameron Naylor is a sound artist working between film, theatre, radio, and electroacoustic composition. He is interested in the art and technique of storytelling through sound, music, and spoken word and his works have been heard across the globe.
His electronic music has been recognised in composition competitions including: Iannis Xenakis International Electronic Music Competition (Greece), MA/IN (Italy), Métamorphoses (Belgium), and the Ars Electronica Forum Wallis (Switzerland). Further afield, he has received several commissions from the BBC, and his installations have been exhibited in notable venues such as the Ars Electronica (Linz), and the G20 Summit (New Delhi).
 
cameronnaylor.com

4) Ryan Eilbeck - Sentimental Penny
   
A birthday, drinks, and spiritual ascension. Found sounds from thrifted cassettes, re-contextualized weight loss message, field recording, manipulated vinyl in real time, electronics.      

Ryan Eilbeck, born in Cleveland, OH, USA. 1984. Scorpio.
Musician, sound artist, living in the foothills of Appalachia
     
http://www.ryanjeilbeck.com
@ry_j_e

5) Hans Parment - Short Cuts

Composed in 2010, in this piece I imitate the way of working but with digital tools in a old fashion way.
Tools that where using in the beginning for electroacoustic music as taperecorders, scissor, razor blade, tape, and with ”simple” filter, sound generators, delay…
Short cuts are composed as a rondo.    

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

1 Paul Antick - WALLET (6:00)  
2 Chris Byrne - Paper Hat (5:17)    
3 Wayne Mason - I Am A Sentient Machine (2:44)
4 Colonial Skyway - Above the Meadow (4:53)
5 Alfredo Travieso - Aarr  (2:15)  
6 kyïvite - ballad of the cossack’s death (4:04)

1) Paul Antick - WALLET
A telephone conversation (more or less.)    

Artist, writer and filmmaker Paul Antick's work has appeared in various places, including: Allegra Lab, Journal of Extreme Anthropology, Journal of Visual Culture, John Hansard Gallery, Horse Hospital, and Belfast Exposed Photography Gallery. Tracks from his music project 'Troll' (2025) - a 'country punk' album by Smith in Finland - have recently been featured on Resonance FM and Radio Orange, Vienna. He lives in London.    
https://www.smithandwilling.com
https://smithinfinland.bandcamp.com/album/troll
https://allegralaboratory.net/is-this-still-life-all-im-good-for-too/

2) Chris Byrne - Paper Hat
This work is a collage of sounds based upon recordings of paper being folded, scraped across a table, rustled and manipulated. Various treatments were applied to the sounds during editing, such as pitch shifts, reverb, changing speed, reversing and looping. While some sounds remain recognisable as paper, others take on a more abstract or musical quality.

The aim is to create a sonic portrait of the idea of a paper hat…    

I have engaged with media and digital practices for some forty years. First as an artist, then as exhibition organiser, curator, producer. Trained as a sculptor, I used computers and video as part of my practice from the outset. During the 1990s and early 2000s I shifted from mostly film and video to digital, interactive and internet artworks. I’ve always found affinity with more marginal practices. Media art is the principle area, but other forms such as performance, mail art, and artists’ publications have been influential. Most of my work as an organiser, curator, producer was in these fields.    
http://www.crowriver.net
https://linktr.ee/crowriver

3) Wayne Mason - I Am A Sentient Machine
Wayne Mason is an experimental writer and sound artist from central Florida, USA.
http://brokenzen.wordpress.com/
 
4) Colonial Skyway - Above the Meadow
Colonial Skyway is Matt Anderson, who has been creating a form of drone soundscape music for the last 10 years in an attempt to convey a sense of loneliness and space, something humans and nature both experience. In contrast, the work also gives voice to the forgotten machines and ignored systems of mechanized domestic service. At its basic form, this music is a celebration of unmelodic sound without the noise and hollering.
http://www.colonialskyway.bandcamp.com
colonialskyway@instagram.com

5) Alfredo Travieso - Aarr  
Electronic experiment using sound editing and textures to reframe auditory meaning.    
Alfredo was born July 1, 1973 in Bogota, Colombia and was trained in film and arts. His studies include a Bachelor's degree in Communication Arts from Marymount Manhattan College, film directing and production at Parsons New School University, and numerous production collaborations with New York University's (NYU) TISCH School of the Arts film program. He currently resides and works out of the city of Miami, Florida. He has obtained his MFA at the School of Visual Arts: Art Practice program in New York city, where has exhibited work. In Miami, Alfredo has curated shows and runs @trashroom_gallery, he has also shown work in Philadelphia.    
https://www.instagram.com/zeligbot/?hl=en
 
6) kyïvite - ballad of the cossack’s death  
Broadcast 13/02/26 is a radio-format composition built from some of the earliest known phonograph recordings of Ukrainian folk music, made in 1908 during the ethnographic expedition of Filaret Kolessa to Central Ukraine. Using fragile wax cylinder recordings of kobzars and folk singers – originally documented with the participation of Lesya Ukrainka and Klyment Kvitka – the work revisits archival sound not as historical artefact, but as transmission. The piece does not remix or dramatically transform the recordings. Instead, it places them within a minimal ambient framework, allowing surface noise, breath, and mechanical residue to remain present. The broadcast unfolds as a quiet, late-night signal: archival voices emerging through static, distance, and temporal dislocation. Radio here functions not as distribution, but as form – a vessel for continuity between early mechanical inscription and contemporary listening. Part of the ongoing project kyïvite, the work treats sound as memory in motion, and broadcast.    

kyïvite is a Kyiv-based ambient-radio project working at the intersection of archival sound, Ukrainian folk heritage, and experimental radio form. The project approaches radio not as a platform, but as a historical and cultural medium – a space for transmitting memory, voice, and fragile continuity across time. Through fictional late-night broadcasts, kyïvite recontextualises archival recordings within restrained electronic environments, emphasising listening, presence, and transmission rather than spectacle. Drawing from early phonograph documentation, field recordings, and public-domain archives, kyïvite explores how historical sound persists in contemporary conditions – particularly within the context of Ukraine’s ongoing cultural and political upheaval. 
https://www.instagram.com/kyivite.music/