Tue 15

Emergencies happen every day in the UK and across the world. They can be caused by severe weather or other natural hazards, by deliberate actions, or as a result of accidents or infrastructure failure. They can be events that happen quickly and are over in a few hours, or they can develop and continue over the course of several days, months, or sometimes even longer.  The situation is once again becoming very uncertain. Automated telephone, fax, e-mail and text messages will be sent. The Emergency Network broadcast system will be activated. Site Sirens will activate. SIRENS will sound. Page not found. Unfortunately the requested page could not be found. This might be caused by a recent update to our website. Please go to our homepage to find what you are looking for. You can listen to news on live radio to find out about the emergency. Make a plan.

    
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://benbranagan.co.uk/
https://theeluddpuca.cargo.site/
https://soundcloud.com/spectral-transmission

“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

This is an unedited, full-length recording of a dawn chorus in Aldeia Nova, a village of the Krahô people. The sounds of an awakening bustle of a family amidst bird calls, along with announcements from far in the middle of the village circle by the village head, can be heard. This recording was made during a ten-day visit to the village in 2010. The Krahô are an indigenous Timbira Gê people from north-eastern Brazil. I started the recording around 5 in the morning, lying in my hammock hosted by one of the Krahô families.    

Artist bio:  
Thomas Rohrer (CH/BR) studied the saxophone in Lucerne before moving to São Paulo in 1995. There, he discovered the rabeca, a traditional Brazilian fiddle which has become central to his musical practice. Through his projects, he explores the sonic potential of his instruments, primarily through improvisation. The CD Tradição Improvisada documents his long collaboration with Nelson da Rabeca, a self-taught musician and former sugarcane cutter, and his wife Benedita. Since 2021, he has been based in Poschiavo, Switzerland. His artistic practice also includes field recording and listening installations. He has often collaborated with dance, theatre, and film.      

Website/social links  
https://rohrersomervell.bandcamp.com/album/rohrer-somervell
https://mediathek.berlinerfestspiele.de/en/jazzfest-berlin/2021/improvisierte-tradition
https://abaetetubacollective.wordpress.com/thomas-rohrer/

1 Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman (7:06)
2 berni m janssen - wira waters wake (12:00)
3 Dianne Ballon-South Freeport Boat Landing-Boats Rocking (1:40)    
4 damarin - sonnet of sibilance (3:55)
5 Sandra Nohemi Rangel - No preguntaron (8:30)  

1) Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman
 
This composition is part of the Cities and Memory project ‘A Century of Sounds’. 100 artistis contributed to this permanent sound installation now exhibited at the Pitt Rivers Museum in Oxford/London.
A reverberation, a story, a journey within a journey, moving through spaces and beings, merging voices temporally scattered. An original 55sec recording, an Indigenous woman calling to a parrot on the Purricha river, a diary, two students – Jonathan Ambache and Richard Saumarez Smith - their anthropological research and a summer trip to Chocó Department, Colombia, 1965.
- Sonopoem, field recording taken inside the Bacchiglione river in the Euganean Hills (Italy) w/ JRF hydrophone and Zoom H6 recorder, intro and outro performed on Lyra8 organismic synthetiser by Ilaria Boffa.
- Spanish spoken word by Colombian anthropologist and artist Elizabeth Gallon Droste
- 1965 original recording by J. Ambache and R. Saumarez Smith    
 
Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London.

- https://linktr.ee/ilariaboffaIB
- https://soundcloud.com/ilaria_boffa
- https://www.instagram.com/ilaria.boffa/

2) berni m janssen - wira waters wake

wira,  Adnyamathanha for River Red Gum, the iconic tree found widely across Australia, marks the presence of water.
In arid places the water may be far below the surface in paleo channels formed thousands of years ago. The red gums long tap roots draws the water into the tree, onto the surface, providing water and refuge for an interconnected community.
wira providing shelter, food, medicines, is considered sacred, standing for water, life, hope.
wira ecosystems are under threat: drier climate; reduced water availability; water tables depleting and not being refreshed.
The first of 3 parts, wira waters wake honours the importance; of wira, their ecosystem, place in the land and profound connection to peoples. It also sounds an alarm.
Text, vocals, field recordings, composition – berni m janssen
Field recordings from: Mambray Creek; Bunyeroo Gorge; Parachilna Gorge; in the Flinders Ranges. Australia.
     
berni m janssen, a maker of: poems, texts, books, performances, sonic and visual art, events, programs & projects. Many collaborative, multidisciplinary, community engaged, ‘live art’, long-term. She works solo and with musicians, performers, sound, visual and text artists. The work has been presented in books and magazines, on radio and web, at events, festivals, over many, many years. She lives and works on the unceded land of the Djaara people.      

Instagram beejaytrix

3) Dianne Ballon-South Freeport Boat Landing-Boats Rocking  

Although I have a windscreen for the microphone which works most of the time, the wind is my nemesis.  And yet, I need the wind to rock the boats.
Each harbor has its own distinct sound.  Rocked by the motion of water, the pull of the tide, and a variable touch of wind, the boats create a mesmerizing series of sounds. The sounds are introspective: both sharp and smooth, quiet and busy, rhythmic yet random and, to me, achingly beautiful.

Maine sound artist Dianne Ballon received a Maine Artist Fellowship and an Artist-in-Residency at Shenandoah National Park. Her sound works have aired on National Public Radio. Her “Boats Creaking at a Dock in Iceland” was awarded at an international radio art competition. “Lost and Found: Sounds of the Maine Coast by Dianne Ballon,” at the Maine Maritime Museum, featured her field recordings of harbors, boatyards, sounding buoys, historical bells, whistles and early foghorns. At the National Audio Theatre, she produced radio theatre. For museums, she produced audio accessible to the blind. She teaches audio through Maine College of Art.    

https://www.dianneballonsound.com
https://www.dianneballonsound.com/soundwork/lost_and_found_sounds_of_the_maine_coast_by_dianne_ballon/

4) damarin - sonnet of sibilance

A sonorous poem exploring the corporeality of consonants, sibilants and hisses through the letter S, an exploration of serpentine synths, slithering sounds, salacious souls, softness and loss..      

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

https://www.instagram.com/damarin1917

5) Sandra Nohemi Rangel - No preguntaron
 
In "No preguntaron" I explored the modification of the semi-rural landscape on the outskirts of the city where I live with the arrival of luxury real state companies that perpetuate dishonest practices regardless of the environmental changes they cause in the native flora and fauna of the place; as well as the adaptation of local residents to forced urbanization.    

Sandra Nohemi Rangel(1995) A Mexican audiovisual artist and archivist whose practice lies at the intersection of contemporary video, sound experimentation and critical documentation. Her work explores memory, the body and nature through the use of archives, sound, code and moving images. In her artistic practice, she seeks to develop ongoing dialogues with digital environments, conceptualizing documentation as a space of resistance and personal and collective reconstruction, questioning the permanence of sound and visual records.    

https://www.instagram.com/comprimidopurpura/
https://soundcloud.com/comprimidopurpura

1 Fulya Uçanok - Nearby the Blackbird (6:45)
2 Benoît Déchaut - ITC Experiment (10:52)
3 Kamikaze - Gracia de dios (2:14)  
4 Tumelo - Track of the Unknown (5:03)

1) Fulya Uçanok - Nearby the Blackbird
 
Nearby the Blackbird (2025) This work grew from a curiosity to travel sonically alongside blackbirds, created from early morning field recordings in Graz, Austria, during a 2024 research residency. The title draws on documentary filmmaker and feminist theorist Trinh Minh-ha’s concept of “speaking nearby,” which embraces a mode of relationality that listens and responds, not by speaking about the other, but by sounding with them in sonic proximity. The piece invites listeners into a reflective space, as it explores the complex (im)possibilities and (mis)understandings that emerge when sounding with and nearby another voice; in this case the voices of blackbirds.
https://www.researchcatalogue.net/view/3569959/3569960    
 
Fulya Uçanok is an electroacoustic musician and artist researcher. Her work takes forms of composition, score-based or improvised performance. She works with field recordings, acoustic pianos coupled with a variety of objects (inside-piano technique), everyday objects as instruments, and electroacoustics.
Her current research interests include response-able sonic practices with humans, more-than-humans, and materials; the role of musical instruments as material agents in human-instrument collaborations; sympoietic practices in multivalent, immanent spaces within electroacoustic composition and performance.      
 
https://www.fulyaucanok.com/
https://www.facebook.com/fulya.ucanok.9
https://www.instagram.com/fulya_ucanok/
 
2) Benoît Déchaut - ITC Experiment

We are the july of 2021. I'm in the middle of France in an old water mill. Peoples there, ear some weirds sounds and voices. I pass two weeks here and after few days, i ear also some voices or i feel like a car arrive like a loop. I set up an experimental sound for trap this voices.
I use the technicals of the instrumental transcommunication with 6 FM radio, a FM transmitter, a Revox B77, a mixer, 2 speakers, stereo microphone, a pick up coil microphone, some pedals effects and a dynamic microphone. The white noise of FM radio mix with the water and the sounds send back to FM Radio. It's big feedback loop.

We will ear...

This audio piece was published on the CD accompanying the ninth issue of Jef Klak's magazine “Feu Follet.”
https://www.jefklak.org/disque-feu-follet/    

Benoît Déchaut is a sound artist and sound engineer.
He works in film, radio production, and theater, and gives workshops to various audiences. His sound research takes the form of compositions on records, performance installations, and radio productions. He works in particular on recording ruined spaces and manipulating and capturing silenced sounds. His practice revolves around collective creation.
He participates in several collectives (Jef Klak, Brut Pop, La Turbine), including Rotor, a sound laboratory in the train station of the village of Thoré-la-Rochette (41), which he founded with other musicians and tinkerers.    

https://benoitdechaut.com
https://piaille.fr/@BenoitDechaut
https://www.instagram.com/benoit.dechaut/
https://soundcloud.com/user-675928193

3) Kamikaze - Gracia de dios

 “Gracia de Dios” is a short, meditative composition that moves with subtle sensitivity, opening a space of inward reflection and quiet surrender. Its emotional development is gentle and contained, guiding the listener toward a sense of peace and contemplative awareness.
Even when we cannot feel the love of Go, the absence is not real; in trying to fill our inner emptiness elsewhere, we unknowingly distance ourselves from what has always been there.    

I am a Mexican sound designer and educator whose work bridges technical precision with deep narrative sensibility. As a self-described “audio wizard,” she specializes in crafting immersive sonic environments that shape perception, emotion, and meaning across artistic and educational contexts. With a strong foundation in critical listening and semiotic analysis, she approaches sound not merely as a technical phenomenon, but as an energetic force capable of transforming space and experience.    

https://soundcloud.com/minor_aranza
Instagram: aranpilla

4) Tumelo - Track of the Unknown
 
The bus has left; you're inside, and your seat is warm. You watch as others laugh inside. Tilt your head and you notice the grey clouds looming outside. The bus coughs up smoke, and you get lost in the haze of the interior. You have somewhere to go so you're just going to have to take it. Even if it kills you.      
 
Tumelo Sedibe is a transdisciplinary artist that works with the curious and strange. Invested in co-creation, Tumelo currently spends time as an art student, learning from peers and assisting seminars, all while working at the Wits Art Museum part-time. Sound is a recent addition to their artistic research, elevating the work in differing and felt manners. Born in Nelspruit, Tumelo challenges categorisation at the core of their work with group exhibitions at The Point of Order, the Link Gallery at the University of Pretoria and was commissioned for a mural at Engage’s Men’s Health clinic, Braamfontein, while developing their practice.    
 
https://www.instagram.com/queen.sedibe/

Sonic Trilogy brings together sounds recorded at different times of the day by Lasuemo artists based in diverse locations from their respective environments. The three soundscapes presented here were produced over the twelve months of 2024 – splitting the year into three seasons, each season focussed on a time of the day. Season 1 is the start of the day, recorded and edited over the months January to April, Season 2, from May to August, captured the middle of the day and Season 3 gathers audio from the end of the day, recorded and edited from September to December. The texts for this publication tell about the sounds recorded by the artists for each season. Scan the codes to listen while you read.      

Artist bio:  
Lasuemo is an informal meeting place on the last Sunday every month in the digital courtyard, gathering since 2020. The courtyard is primarily intended as a decentralised space to promote deep listening, making and maintaining connections, and bridging the gaps to find ways to share and do things together. Sonic Trilogy sound recordings are contributed by: Alana Hunt, Ann Noel, Daniela Ardiri, *durbahn, Hannah Beilharz, Helen Grace, Ivana Lakic, Judy Freya Sibayan, Karla Sachse, Lawan Jirasuradej, Lena Eriksson, Maryrose Mendoza, Nitaya Ueareeworakul, Phaptawan Suwannakudt, Rashmimala, Reiko Aoyagi, Sue Pedley, Urna Sinha, Varsha Nair and Virginia Hilyard.    

Website/social links   
https://lasuemo.net/sonic-trilogy/
https://soundcloud.com/user8785041/sets/lasuemo-sonic-trilogy_all
https://lasuemo.net/wp-content/uploads/2026/02/SonicTrilogy-A3_FOR-PRINT_14feb.pdf

Polyphonic poetry…

A radiophonic adaptation of Jackie Kay’s The Adoption Papers, which dramatises her experience of a black girl’s adoption by a white Scottish couple.  It presents three narrative voices, daughter, adoptive mother and birth mother, each in a different typeface. At times these are separate monologues, at others,  carefully interwoven creating a polyphonic symphony. The cumulative effect is of more than three voices.

Text: Jackie Kay
Director: Cathie B
Composer: Anthea Haddow
Recorded & Produced by: Ward Weiss
Cast: Veronica Leer, Louise Ludgate & Michelle Rodley

A 24+1 (Rescue Kit for Radio). 24+1 was a pilot project for the EBU (European Broadcasting Union) led by Belgian artist Ward Weis.

Artist bio:  
After graduating from the Royal Conservatoire of Scotland, Belfast born Cathie B has spent 25 years directing opera, visual concerts, music theatre, film and large scale events.  She has worked as a stage director with Latvian Radio Choir, Baltimore Symphony Orchestra, London Sinfonietta, BCMG, Scottish Ensemble and Tenebrae. Commissions include Southbank Centre, London; Peak Performances, New Jersey; Singapore Arts Festival; Aldeburgh Music Festival; City of London Festival; Frankfurt (oder) Music Festival and Tramway, Glasgow. Credits include: Armstrong, Britten, Bryars, Dzinitis, Gounod, Kurtág, Kyriakides, Haddow, Holt, Marta, MacDonald, Neil Martin, Reich, Sciarrino, Shostakovich, Stockhaussen, Talbot, Varese and Viñao.
    
Website/social links   
https://www.dropbox.com/scl/fi/fixetdcyzi397plhf8cy3/ADOPTION-PAPERS-Cathie-B-credit-Anthea-Haddow.jpg?rlkey=d77b2rk2yh0eh01kz2qgb64t8&dl=0

A personal audio essay weaving field recordings, found objects, voice, violin, and the in-house organ of Villa Aurora, built around a hike through Los Leones Canyon - the spine of the piece - exploring memory and a deep personal connection to place. Lookout.FM & Villa Aurora Los Angeles commission    

Artist bio:  
Biliana Voutchkova is a violinist and composer-performer with a distinctive and unconventional artistic language. Grounded in classical training and expanded through contemporary practice, she explores spontaneity, intuitive resonance, and the relationship between inner states and sonic space. Her work spans improvisation, contemporary composition, site-specific projects, exhibitions, long-durational and multidisciplinary performances, audiovisual works, and installations. She performs internationally as a soloist and in collaborations with renowned artists and ensembles. Biliana is the founder and curator of the DARA String Festival and is composition faculty at the Hochschule der Künste Bern (HKB).    

Website/social links   
http://www.bilianavoutchkova.net/
https://www.instagram.com/bilianavoutchkova

It takes around 10 mins to walk the length of the tunnel on the Union Canal at Falkirk High - depending on how much you stop to listen.  This piece is layered upon an unedited single mobile phone recording walking through the tunnel on the 20th November 2025.  On the 9th of January 2026 I returned to the tunnel with a Leica BLK360 G2 3D Laser scanner, a Soundfield NT-SF1 ambisonic microphone, a Lom Geofon contact microphone and a pair of JRF D-Series+ hydrophones to capture the many layers of sound and experience within the tunnel: thundering water, drips on the balustrade, the natural resonance of the stone and water and the mysterious conversations in the depth of shifting patterns of noise.  There are no audio effects added to this piece only fading between the various microphone recordings. 
    
Artist bio:  
Andrew J Brooks is an artist, musician and architect whose work centres on stories, people and lived experience. He works across varied media, with solo and collaborative musical releases with Three Field Lines, AAC Trio and Amateur Cult, focusing on saxophone performance and field recordings.

He is undertaking a practice-based Sonic Arts PhD at SARC, Queen’s University Belfast, in partnership with Scottish Canals, researching sound, environment and community along Falkirk’s canals.

Since 2020 he has taught at Edinburgh College of Art, integrating sound and critical listening into architectural design studios, and founded the grassroots art space Concrete Block Gallery.    

Website/social links   
https://www.ajb-art.com/
https://www.instagram.com/andrewjbrooksartist/

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/

Année de composition, 2022 Durée: 16’23“ Dans cette pièce, je pars d'une interrogation: comment raconter avec des sons, à la manière d’un Hörspiel. Comment raconter avec des sons naturels, des sons de lieux (proches, lointains), des sons quotidiens, des sons et des voix familières.

Et comment faire intervenir le piano en contrepoint, non seulement l’instrument et la musique qu’il peut produire, mais aussi en tant objet sonore source de sons insolites et d’un point de vue narratif, le piano comme présence, comme identification ? Et enfin, comment le son de l’instrument peut se fondre dans le paysage? La voix parlée, à peine audible au milieu des activités domestiques quotidiennes, est une vague présence dans le paysage sonore qu’elle accompagne, paysages sonores d’ici et d’ailleurs.

C’est avec tous ces éléments que j’essaie de traduire un monde sonore intime, qui est celui de ma mémoire et de mes rêves.

Les sons qui composent la pièce sont, par la plupart, des paysages sonores des intérieurs et des extérieurs; les premiers décrivent une réalité quotidienne revisité (les sons enregistrés il y a longtemps dans la maison familiale), les sons des extérieurs proviennent de ma sonothèque personnelle où j’ai rassemblé une multitude d’ambiances de divers pays. Quant aux sons du piano il y a d’une part. des improvisations avec divers modes de jeu que j’ai enregistré en studio, et d’autre part des sons des piano « en situation », jouées par les passants dans les gares parisiennes, sur les instruments mis à disposition.

Dans la pièce, le caractère « anecdotique » des sons est maintenu, la source est reconnaissable et les transformations légères. Cet itinéraire, à travers de sons du réel et des sons du rêve, est une invitation à se laisser porter par l’écoute.

ANDREA COHEN

Musicienne franco-argentine, pianiste, compositeur et artiste radio, elle poursuit une démarche artistique pluridisciplinaire dans laquelle la musique, le théâtre et la radio entretiennent une constante relation. Andrea Cohen a composé de nombreuses pièces électroacoustiques et mixtes (instrument et support) parmi lesquelles Fantaisie domestique pour piano et échantillonneur (Commande de l’État 2012) ou Piano en éventail (Commande Radio France, 2023). Elle a composé également la musique pour la scène pour des pièces radiophoniques et audiovisuelles. Elle a été l’autrice et l’interprète de nombreux spectacles de théâtre musical (Tant qu’il fait jour, Robert Schumann, avec Jean-Marie Patte, créé au Festival Avignon) ainsi que de l’opéra joué exclusivement par des enfants Fois il était une deux trois, (Commande de la DRAC Ile de France, créé au théâtre Jean-Vilar de Vitry-sur-Seine) Elle travaille régulièrement à France Culture (Radio France) où elle produit des ateliers et des documentaires de création. Pour ses projets radiophoniques, elle a reçu des bourses d’aide à l’écriture de la SCAM et du Ministère de la Culture.

https://andreacohen.eu

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Raiņa parks (1:41) 

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Raiņa parks  

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

Chotila Anthrophony Pit begins before arrival. It enters carrying the residue of earlier anthrophonic listenings before joining the pilgrimage at Chotila, where more than thirty thousand people move together across a thousand stone steps. Rather than documenting the climb, the piece listens for the moment a multitude begins to sound as one: when breath, footsteps, chants, waiting, negotiation, complaint, devotion, bells, and silence reorganize into a shared field of human presence. Near the end, the listening turns toward a newborn carried through the ascent before leaving with the mountain's quiet polyphonies—silences still resonating with those who have just passed through them.
 
अथक (Athak): Transdisciplinary Entries into Anthrophony
 
A sonic research project across mixtapes, radio works, situated listening, live transmissions, performance, zines, meditative forms, and interpersonal acoustic encounters. Athak is an ongoing transdisciplinary exploration of anthrophony- the sound of human presence- as a site of exhaustion, devotion, rupture, complaint, negotiation, care, and renewal.
 
The project approaches anthrophony not simply as environmental sound or human-made noise, but as a relational and bodily condition: the collective hum of proximity, friction, waiting, fatigue, ritual, and co-existence. It asks how human beings acoustically inhabit thresholds of depletion and invigoration, and what forms of listening emerge when exhaustion itself becomes shared.
One recurring site of inquiry is a Chamunda temple pilgrimage in Chotila, Saurashtra, Gujarat, where thousands of pilgrims ascend over a thousand steep steps toward the deity. The climb unfolds as an evolving sonic field: interrupted breath, chants, coughs, devotional cries, negotiations, footsteps, metallic frictions, pauses, murmurs, complaint, silence, anticipation.
Human sound accumulates as density.
 
Across this site, Athak listens for acoustic triggers and thresholds, moments in which bodily exhaustion reorganises into participation, attention, and renewed presence. By the time many pilgrims arrive, they appear depleted, dissociated, irritated, or physically strained. Yet, as the temple doors open and the aarti begins, a subtle but undeniable shift passes through the gathering. Breath changes tempo. Posture alters. Fatigue briefly reorganises itself into rhythm, movement, devotion, and collective attention.
 
Athak dwells within this unstable transition.
 
What does collective human exhaustion sound like before the body reorganises itself? Is invigoration innate, or does it emerge relationally, from ritual, proximity, sonic density, waiting, devotion, and the difficult labour of being with one another?
 
Working through field recordings, fragmented narrative, live acoustic interventions, radio dramaturgy, responsive performance, and situated listening, the project develops an evolving anatomy of sonic sites: their pacifiers, neutralisers, hums, frictions, avoidances, emotional residues, and architectures of exit.
 
Its structure remains intentionally disoriented. Encounters interrupt one another. Memory folds into atmosphere. Breathlessness becomes rhythm; rhythm becomes form. Listening is approached not as extraction, but as relation. Rather than seeking to stabilise or control anthrophony, Athak attempts to earnestly, relentlessly remain with it, to sit beside its excesses, mistranslations, ruptures, fragile forms of reconciliation, and sonic booms.

Project Coordinator-  Virali Bukhiriya
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography

Pratyush Pushkar / ba is a transdisciplinary artist, poet, and researcher building a poetics of attention rooted in listening, gesture, ecological intimacy, and metaphysical longing. Working across sound, language, translation, image, food, and participatory forms, their practice traces hidden continuities between beings, atmospheres, and states of relation. Through immersive, research-led methodologies, ba constructs spaces for alternative sensing—where vulnerability, slowness, and collective attunement become ways of knowing.

Their recent work turns toward the poetics of anthrophony- the layered, often overlooked textures of collective human sound-approaching listening as a site of reconciliation, memory, and social imagination. Situated between sonic inquiry, poetic practice, and ecological attention, ba’s works have travelled internationally across exhibitions, radio, residencies, and commissions.

http://www.studiobalone.com

A few years ago, a friend told me that Frontex used a heartbeat detector to locate people migrating to Europe across the Mediterranean in order to prevent them from reaching European shores. This deeply shocked me. How had we come to listen to a human heart at sea in order to take a life away?
Thinking about these crossings from Africa to Europe, where people risk their lives daily for a better future, I explored Google Earth and was struck by the absence of images of the African continent. These missing images echoed the media portrayal of “migrants” as a nameless mass.
I began searching for sound archives to imagine these places and journeys. I then met four people who migrated from Africa to Europe and who describe the routes and places they cherish, past and present.    

Artist bio:  
Victoria Maréchal (Switzerland) is a director and sound designer living in Argentina. She graduated as a director from the Universidad del Cine (Argentina) and is currently pursuing a Master's in Sound Art at UNTREF. Her work, blending video installation, cinema, and sound creation, has been exhibited at festivals including Jeonju IFF, RIDM, Cinémathèque du Centre Pompidou, Festival dei Popoli, Salón Nacional de las Artes Argentina, among others.
She also works as a sound recordist and designer and programs for Festifreak Festival (Argentina), Play Festival (Argentina), and UltraCinema (Mexico), while leading workshops on sound exploration and listening for children and youth.
    
Website/social links  https://soundcloud.com/victoria-marechal

1 Martha Riva Palacio Obón - khthónios - invocación (5:04)    
2 Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land)- Datos / Data (4:33)
3 Jessy Dulheuer Bliah - Là où elle se tient / Where She Stands (11:36)
4 Matteo Zoppi and Tommaso Cappelletti - This Goes Against Our Community Standards (16:41)

1) Martha Riva Palacio Obón - khthónios - invocación

Interspecies hymn built from the digital mix of crickets chirping and human vocalizing in different frequencies. khtonic spirits that decompose and regenerate the compost - underworld, creating with their bodies the cyclic rhythm of life and death. Microscopic, inefable transit. Invocation: to bring back through sound an ancient bestiary in order to recreate a fragmented and spectral testimony, of those who once inhabited this wounded planet. Khthonios, from earth.    

Martha Riva Palacio Obón is a Mexican author and interdisciplinary artist. She studied a BA in psychology and a MBA in visual arts. Her sound essays have been presented in spaces such as Tsonami, Sur Aural, soundpedro, prior editions of Radiophrenia, the Center of Complexity Studies (UNAM) among others. She's the human behind Sono-bot, a non-human entity that generates an infinite inventory of problable and improbable sounds in Bluesky. Among her published works are Liquen amonita, El mono infinito and Amor virtual con variaciones.    

https://www.instagram.com/balighieri9/
https://bsky.app/profile/sono-bot.bsky.social

2) Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land)- Datos / Data    
(poem by Maricela Guerrero - Mexico)

Barbara Dang (France) plays prepared piano. Borja Flames (Spain) speaks/sings and plays electronics.
We have composed this pieces together, and they are part of a 9 tracks album recorded in june 2025, not yet released.
This collection of pieces go under the name SOY TIERRA (I am earth / I am land), and are based on contemporary latin-american and spanish poems. The poems explore the relationship between the body and its environment and society, ranging from metaphysical introspection to earthly and cosmic thought, and narratives of interpersonal relationships, love, and desire—the driving forces of life and purpose.

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

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

3) Jessy Dulheuer Bliah - Là où elle se tient / Where She Stands

Composed from the sounds of objects, recordings of a double bass, and voices, this piece is punctuated by crescendos in the intensity of a sonic environment that "she" must resist. "Where She Stands," where she does not falter, characterizes the climax of the piece, the moment when "she" reaches her peak and does not retreat.      

Jessy Dulheuer Bliah, born in 1991, is a musician and studies electroacoustic composition at the Pierre Barbizet Conservatory in Marseille (CPBM). She sings, improvises (voice, objects), and leads music workshops for diverse audiences.      

https://jessydulheuerbliah.bandcamp.com/

4) Matteo Zoppi and Tommaso Cappelletti - This Goes Against Our Community Standards

A performance for two voices within a system of control.

The stage is empty. Two performers move through a choreography of microphones, cables, and stands. No fixed roles.
The desire to control – and the unspoken desire to be controlled – shapes how we navigate digital space, where platform guidelines quietly govern visibility, speech, behavior. Control is equated with containment. To be controlled can mean safety, legibility, or disappearance. These dynamics are rarely mutual. They are imposed, often without consent. When such logic becomes embodied: who gets to speak, and who disappears?

Echoing Peter Handke’s Self-Accusation, the piece reimagines it within digital regulation and content moderation. What unfolds is both a sound piece and a choreography of sabotage and submission. The lights never change. The curtain never falls.
What kind of silence are we being trained to accept?

Recorded at Tropez, Humboldthain Sommerbad, Berlin, 2025.
Introduction by Nora O Murchú.    

Matto Zoppi is a sound artist and performer working at the intersection of live electronics, poetry, and extended voice. His practice merges elements of theater, radio art, and performance art to explore language as both a sonic material and a tool of perception, investigating themes of control, memory, and transformation.

Tomato Cappelletti is a product designer and researcher exploring pop culture, interfaces, and the symbolic architectures of the internet, and co-founder of Clusterduck Collective. His practice blends UX/UI, art direction, and speculative design to create playful hybrid experiences that examine how digital tools and cultural narratives shape one another.
     
@mattozoppi - http://www.mattozoppi.com
@tomatocappelletti - http://www.tomatocappelletti.com

1 Simon Rattigan - River Habitation Unit (12:08)      
2 Carey Lin and Gabriel Gilder - The cat says it in his language (2:21)      
3 Kristina Kapilin and Laura Selby - Breath (1:41)
4 John Roach - Northfork Wind Sketch 2 - Steam (4:29)  
 
1) Simon Rattigan - River Habitation Unit  

The sounds of the river and its environment are recorded and synthesised, compositions arranged for Radio to explore post "New Brutalism" in architecture and nature. The flow of the river changes direction twice a day. It is pushed and pulled by the ocean tides and powerful, celestial forces. A new town is placed on the marshland at the cities edge, on the banks of the River Thames. The water moves like a shifting language to deliver the new town its name, Thamesmead. Previously on this muddy piece of ground, tanks tested their guns. 1960’s idealism built the estate in utilitarian style in poured concrete. An invisible river flows below ground and carries another type of water from the vertically stacked homes. This wastewater drops through the heart of the towers into the horizontal sewer beneath. Brutalism, as truth of material, where nothing is hidden and characterised by noise and decay.    

Simon Rattigan is an artist living in London, working with moving image and sound to discover new configurations of history, memory, and personal shared experience. His practice encompasses recording, collecting ephemera and researching archival documents. Creating a synthesis of real and illusory phenomena entering into social, biological and technological histories. In his work materiality of media is processed to evoke questions of authenticity, hierarchies of knowledge and cultural belonging. Occupying a hybrid space in which we materially and psychologically reconstruct and redefine our relationship to the past and other temporal conditions. His work has been displayed nationally and internationally.    

simonrattigan.com

2) Carey Lin and Gabriel Gilder - The cat says it in his language        

This piece is inspired by a drawing that our 4-year-old son made and the story that he told us about it. We were intrigued by his playful descriptions and unique logic. Reinterpreting his narrative through our layered voices, effects, and music, we’ve attempted to reveal a dynamic imaginary world. This piece was originally created for Small Audio Art #5 — Pictures and was featured in the 2025 XMTR Audio Arts Festival.    
Carey Lin and Gabriel Gilder are San Francisco-based visual artists who have collaborated since 2016. Their practice has taken the form of film and video, animation, sound compositions, publications and interactive walking tours. Recent work has been showcased at the San Francisco Independent Short Film Festival (2021); APAture Festival’s Visual Arts Showcase (2023); the West Virginia Mountaineer Short Film Festival; and “Exquisite Corpse” at Millenium Film Workshop (2025).    

https://www.lingilderprojects.com/
https://www.careylin.com

3) Kristina Kapilin and Laura Selby - Breath
     
Breath was created in collaboration between Kristina Kapilin and Laura Selby as part of a participatory art project and installation titled Woven Words, which also included textile artist Linnéa Duckworth. Breath features field recordings by Laura Selby from Fulham’s South Park, and collaborative sound design by Kristina Kapilin and Laura Selby.

The artists examine how connecting with the environment and language through sensory exploration can inspire a sense of wonder and appreciation for the natural world. Rooted in the practice of field recording and deep listening, Breath reflects on the often overlooked sounds and atmospheres woven into London’s urban nature.

Kristina Kapilin is a London-based interdisciplinary artist and filmmaker exploring the relationship between listening and ecological storytelling.

Laura Selby is a Croydon, London based interdisciplinary artist, sonic experience designer and researcher exploring listening-led climate justice.
     
Website: kristinakapilin.com
Instagram: kristinakapilin

Website: laurakrselby.com
Instagram: laura_selb

4) John Roach - Northfork Wind Sketch 2 - Steam  
   
 “Steam” is a work in progress and part of an ongoing series about wind – it features the voice of sailor and sculptor Arden Scott. All other sounds were derived, in one way or another, by the wind and Arden’s steam whistles. This sketch was created during the Uncommon Arts Residency at the Sound View in January 2026 in Greenport, NY on the North Fork of Long Island.      

John Roach is an interdisciplinary artist with a particular interest in sound and multisensory experience and he builds environments that blur the line between what we see and what we hear. His sound compositions often focus on themes related to ecological systems, biodiversity and climate and exist in a space between electroacoustic music, documentary and experimental radio art. These pieces, shaped by a playful embrace with uncertainty, bring together his field recording practice, instrumental passages, and conversations with artists, scientists, writers, historians and others.    

https://johnroach.net/
https://www.instagram.com/johnroachart

Amidst the real-life kidnapping of Aldo Moro in 1970s Rome, a U.S. intelligence operative attending a clandestine séance encounters the spectral voice of his deceased daughter, leading him down a rabbit hole where political conspiracy intertwines with a haunting personal tragedy and a shocking revelation about a past covert operation.    

Artist bio:  
Federico Pipia Federico Pipia (b. 1996) is a composer and sound artist holding a Master’s in Sound Design (cum laude) from the G.B. Martini Conservatory. His multidisciplinary work spans theater, cinema, and live electronics, featuring at international venues such as the Montreux Jazz Festival and Teatro Biondo. His research focuses on the intersection of sound, words, and new technologies.

https://federicopipia.com/about-agenda

The work explores the historical and contemporary implications of the 1966 Vietnamese text "Giữ Gìn Sự Trong Sáng Của Tiếng Việt" (“Preserving the Purity of the Vietnamese Language”), written by Prime Minister Pham Van Dong, which aimed to maintain linguistic purity amidst major nationalistic and cultural shifts. In dEFlowERing VIEtnameSe, the artist has collected 49 recordings of a diverse group of Vietnamese people. These participants were asked to read a simplified version of the original text published in the 12th Grade Literature Textbook as accurately as possible. The resulting recordings were then edited into a sound collage, capturing various accents, dialects, and idiosyncrasies of pronunciation. Disrupting the idea of a singular, "pure" Vietnamese language, this “unpure” composition reflects how language can both cultivate unity and sow seeds of division as it is spoken across the country and beyond.      

Artist bio:  
Nguyen Hoang Gia Bao (Bao) is a multimedia poet from Vietnam. Bao’s art seeks to desacralize the traditional notions of language, offering an (anti)reading that exposes the failures of words, the absence of typography, phonaesthetics, translation, and adaptation. He practices digital poetry through a multidisciplinary lens, incorporating animation, sound art, curatorial practice, and performance art. His writings and multimedia pieces have appeared in prominent publications and platforms such as Rivering (RMIT Australia), Sui Generis (Bard College), Voice and Verse Poetry Magazine (Hong Kong) Vănguard, Radiophrenia (Glasgow), and WXCB Radio (Bard College).      

Website/social links  
Instagram: https://www.instagram.com/nguyenhoanggiabao_/ 
Website: https://nguyenhoanggiabao.cargo.site/pages

1 Gabriele Heller - ROUND MIDNIGHT (20:14)        
2 Nik Degtyarev (NOGR collective) - north sound (5:24)  
3 Hervé Girardin - Peau de Vache (Cowhide) (10:39)  

1) Gabriele Heller - ROUND MIDNIGHT
 
Round Midnight a 20 minute bilingual audio play by Gabriele Heller
It is almost midnight, as two voices meet around a kitchen table. In the middle of the night an indefinable anxiety brings more and more questions to light. Round Midnight is an intimate play about migration and identity. About open and closed borders outside and inside of our minds. A soliloquy about being a stranger and a native. An unusual biography taking place between the South of Germany and the North of England. Round Midnight circles around the questions of where someone can stay and where someone chooses to stay, where one can be at home and where one can truly feel at home.    
 
Gabriele Heller is a writer, director and performer working in audio art, theatre and music. Her work spans from historical adaptation to non linear narratives combining improvised music and soundscapes to explore social, cultural and philosophical concerns within society. Her audio plays have been shortlisted, broadcasted and awarded at various international festival and radio art platforms. Originally form Germany she lives and works in Newcastle since 2001. In 2025 Gabriele initiated and curates RADIOPHONICX a new communal listening event presenting international audio art in Newcastle upon Tyne, UK.
 
http://www.gabrieleheller.com/ 
 
2) Nik Degtyarev (NOGR collective) - north sound    
 
north_sound recording is made along the route through the border area between Russia and Norway using a radio receiver. The peculiarities of radio signals in the conditions of crossing the networks of civil and military frequencies of different countries, dramatically changing terrain and necessity to be in constant motion create a unique sound landscape of this northern route, while the intersection of social and political contexts creates the need to move along it in both directions.

The beginning of the border control on the E105 highway is the checkpoint where the fact of vehicle passing and the number of persons inside are recorded and transferred to the border post. About 30 minutes are given to pass the further territory, which is closed to public and civil activity.

This soundscape is an image of rupture and estrangement. It is, in essence, an image of the "invisible enemy" — one that can never be discerned through such a "zone of exclusion."

link: http://www.nogr.me/northsound
 
Nogr is an artistic and research collective. In 2022, the NOGR collective underwent a radical transformation. Today it is an open structure that still resists personal authorship, while manifesting personal responsibility for utterance and action. Our sustained work with political imagination and cross-border interaction no longer holds practical value within its original frame, as the return of "the right of the strong," imperialist war, and the maximization of information slop erases such statements and strips them of any practical dimension. Today we must build the preconditions for resistance, for pushing back against aggression and inequality — at the very least within the culture we can reach. We believe it is now necessary to focus on practices of "radical care," on images of resource redistribution through the loss and transformation of one's own identities (rather than their defense). Images of commonality within migration, exile, struggle, and horizontal support — this is our cultural goal. We understand that artistic research is a weak foundation for such a manifesto. Still, our attempts and our work will be directed at exactly this. We still believe that difficult questions and artistic images can contribute to positive change. An emerging decolonial optics within culture drives the disintegration of imperialist narratives, alongside support for the total necessity of the dissolution and destruction of empires as such. The colonizer's language cannot be decolonized from within its own grammar — which is why we believe it is now essential to change (to live through disintegration) ourselves as well.

3) Hervé Girardin - Peau de Vache (Cowhide)

Peau de Vache (Cowhide) is a sound piece which proposes an immersion in the sound universe of an ox on his last journey to the slaughterhouse. Recorded at an organic cooperative farm in the Swiss countryside from June to October 2023, it follows a young anonymous ox in the pasture with his herd, his daily walk back to the stables, and his final journey from the cattle truck to the butchers.

By means of collage of field recordings as a form of time compression, Peau de Vache (Cowhide) explores the musicality of such a fateful journey and bring us for once very close to this familiar yet enigmatic animal.    

Hervé Girardin is a sound designer, engineer and composer based in Edinburgh. After studying Jazz guitar and composition in his native Switzerland, he moved in the pre-Brexit UK to pursue a career in sound. Audio engineer in music venues and theatres whilst composing and playing in several musical outfits in South Wales , then Manchester, he then settled in Scotland to practice the craft of sound design for media. He won The Hideo Nishizaki Award for Best Sound at SAFF 2022.

Hervé launched his own sound design company KATSU Audio in January 2026.    

https://www.katsu-audio.com
https://hervegirardin.bandcamp.com/album/peau-de-vache-cowhide

4 Martyn Riley - Walkie-Talkie (15:00)    
5 Leonie Roessler - Hi, my name was... or the silence when the children are gone  (7:14)        


4) Martyn Riley - Walkie-Talkie      

Walkie-Talkie revisits spaces after time has passed. Eighteen months on, a relatively short span, what remains when returning to photographs and field recordings? Can we recover how we felt, the impressions that settled on us? What words surface, and how do they arrange themselves?
The piece combines cymbals, two walkie-talkies (one partially broken), and a radio. The voice was recorded in February 2026 during an automatic writing session, prompted by photographs and field recordings from the original trip.
The work originates from a solo recording session in a loft in Aulus-les-Bains at CAMP FR, immediately following the Environment and Synthesis workshop in Autumn 2024, hosted by Mark Fell
     
Martyn Riley’s work is defined by collaboration and a play(ful) approach to exploring themes of memory, decay, and found objects. His practice includes installations that blend diverse media: tapes, samples, field-recording, spoken-text, sculpture, and photography; centred on storytelling and evoking memories.
Over the past decade, he has curated and produced experimental music events (adsr) and performed with various audio and visual collaborators. Most recently with Beth Robertson as Tokoro Wohnen, which sees their debut release on Flaming Pines early Summer ‘26.
The ongoing project ‘Red Datsun*White Jag’ centred around a decaying car discovered in Oxfordshire woods created a sonic piece, ’59,312.85’ for 2025’s iteration of the Radiophrenia transmissions.
Recent sound installation work has been shown at Aesthetica Short Film Festival (‘Flux & Possibilities’), The Swiss Church, Soho for ‘caving’, as part of the DDS collective and ‘FUMP HULDER’ at Project Divfuse.
     
http://www.martynriley.co.uk
https://www.instagram.com/martyn_riley_sound/

5) Leonie Roessler - Hi, my name was... or the silence when the children are gone

A sound work made from field recordings in Iran and India. A social commentary in a world where children’s voices are disappearing. The title speaks for itself.      

Leonie Roessler - Composer, Performer and teacher based in The Hague, Netherlands.  Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. Part of her work is purely sound-based, however the theme of marginalization has become increasingly present in her radio works. She is part of LOOS in The Hague, and co-curates On Air - On Site Festival and BUG Radio. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (IR/DE), Biodiversitàs (IT), Syrphe (DE), and Antilounge (NL) and have been physically archived in the British Library.      

leonieroessler.com
Facebook: Leonie Roessler
Insta: ljroessler

industrees is a speculative music label presented as a 30 minutes live in-studio radio performance. The broadcast features fictional sound artists and musicians whose practices revolve around field recordings, electronic music, and noise. Here, “selected works” are shaped by the ever-evolving conditions of rural and urban ecologies. Within this imagined radio narrative, the fabulated label becomes a platform to engage issues of body, atmosphere, and memory across shifting landscapes.

In this context, radio functions as a medium to pose situated philosophical questions: How does sound circulate through environments marked by industrialization and extraction? What does it mean for a body to produce, transmit, and archive its own sonic labor? Who or what gets to be heard within rural and urban infrastructures? Through narration and live performance, the broadcast uses the immediacy of radio to stage these questions in real time, grounding speculation in audible, embodied acts of transmission.    

Artist bio:  
 Jett Ilagan (b. 1991), is an interdisciplinary artist, and a cultural worker based in the Philippines and Taiwan. His body of works, which include installation, video art, and audio-visual performance, explore environmental sounds, particularly the idea of “cultural soundscapes,” through immersion-based methods such as psychogeography, sound walking, holding community workshops, and personal encounters with the subject environment and its locals. Ilagan investigates spatial soundscapes, intending to encourage people to question and reflect on their relationship with the environment in this period, during which human activities have dominated rural & urban ecology and generative spaces.    

Website/social links   
https://jettilagan.carrd.co/
https://escuri.bandcamp.com/
https://www.instagram.com/escuri_ph/

The Radiophrenia team’s first in-house production is a radio play that takes a deep dive into the secretive and murky world of maritime engine audio clubs – where enthusiasts share and swap rare engine recordings as if they were illegal contraband. And for some the obsession goes too far…

Produced during a week-long residency at WORM, Rotterdam as part of the Radiophrenia/WORM residency exchange programme. Originally performed live as part of Radio WORM’s 25-hour live radio marathon.

Biography:

The Radiophrenic workshop on this occasion consisted of core Radiophrenia team members: Elina Bry, Stevie Jones, Timothea Armour and Mark Vernon. Radiophrenia is a radio art collective, festival and art radio station broadcasting intermittently across Glasgow on 87.9FM and online.

https://radiophrenia.scot/

Surreptitiously made recordings of radiotherapy to treat cancer to the vocal cords are collaged with recordings made of an organ being tuned. I visited various cathedrals to make recordings of organs being tuned as part of my cancer recovery process. The recording used here is of the repair and tuning of the Wynnstay organ (1774) in Cardiff Museum. Also embedded in the collage are recordings of speech therapy exercises made during my recovery process.    

Artist bio:  
Steven George Jones is an artist, musician and filmmaker living and working in Newport, South Wales.    

Website/social links  
bosch01.bandcamp.com
https://www.youtube.com/@senojnevets

Unlearning Noise is an electro-acoustic composition based on field recordings and spoken words.
 
Cities are rich with soundscapes—some strikingly prominent, others subtle and elusive. Every street, alley, neighborhood, park, and harbor carries its own evolving sonic identity, making each moment distinct and unrepeatable.  The work drew from field recordings, blending discrete and processed sounds with other audio sources to reimagine specific locations and experiences as imaginative auditory worlds. Unlearning Noise invites listeners to reinterpret the concept of noise within urban environments, encouraging them to uncover its hidden meanings and untapped possibilities. Officially released on CD by Discreet Archive on October 17, 2025. Many thanks to Jacob Calland.

Marina Katsarou – voice, text
Eva Matsigou – flute
Eventless Plot – field recordings, percussion, tapes, modular synth
Recorded, composed & edited by Eventless Plot
Photo by Nikos Kostopoulos
Mastered by Yiannis Tsirikoglou    

Artist bio:  
Eventless Plot were formed in 2002, in Thessaloniki. Borrowing elements from different genres and aesthetics to build their own hybrid of sound, while exhibiting great attention to sonic details in different forms of experimentalism. From free impro and noise, to new electronica, electroacoustic composition and jazz, their music remains always unconventional and contemporary. They use a variety of instruments, analog sources, field recordings and Max/MSP patches, while incorporating musical segments through collaborations with various musicians to realize their compositions. Eventless Plot are working on sound design and composition for art installations, films and dance projects and have released in some of the most acknowledged labels around the world including Another Timbre (UK), Edition Wandelweiser (GER), Dinzu Artefacts (USA), Moving Furniture Contemporary Series (NL), Tsss Tapes (IT), Granny Records (GR), Dasa Tapes (GR), Aural Terrains (UK), Archive Officielle (CAN) and Never Anything Records (USA) among others. Moreover, they have performed live in many festivals and venues in Greece and abroad.        

Website/social links   
http://www.eventlessplotsound.com
https://eventlessplot.bandcamp.com

Originally conceived as a performance concert and released as an album in 2025, the project continues in radio form, transforming the medium into a space where sound, memory, and language become porous. Songs from the album intertwine with field recordings, voice notes, archival fragments, and multilingual narration in Tunisian Arabic, Classical Arabic, French, Italian, and English, composing a listening experience that inhabits a third space between presence and absence, intimacy and distance.
 
The radio piece extends beyond the album by weaving together a constellation of voices that open new pathways into its research. Original excerpts from the record are interlaced with reflections, testimonies, and poetic interventions that reveal the collaborative ecology from which the work emerged. Dramaturg Tolja Djokovic, who developed the poetic dramaturgy of the performance together with Corps Citoyen, reflects on writing as a practice of listening across languages and lived histories. Curator and director Anna Serlenga shares insights into the performative and visual construction of the work, while actor and performer Aymen Mejri—co-founder of Corps Citoyen during its early years in post-revolutionary Tunisia—offers an original poetic text inspired by diaspora as an interior condition: a geography of the self where memory, displacement, and belonging continuously reshape one another.
 
The first excerpt, Ghrib, opens with a WhatsApp voice note from Rabii Brahim's aunt and unfolds as a duet suspended across generations and geographies. Here, diaspora is not simply migration but a resonant condition—a space where rupture becomes creation, longing takes the form of sound, and absence is transformed into intimacy.
 
Artist bio: 
Corps Citoyen is a multidisciplinary artistic collective based in Tunis and Milan. The collective’s artistic practice crosses performance, theatre, social and anthropological research, video-documentary and participatory projects in public space to create new narratives of the present and investigate the complexity of the contemporary, with a decolonial approach aimed to stress who have the right to speak in public sphere. Barrani is their last piece, born as a performance-concert and later released as a record by Hundebiss Records in 2025; it is conceived and performed by Rabii Brahim (vocals, triggered percussions, objects), Manuel D’Onofrio (synths, processed samples, bowed cymbals), directed by Anna Serlenga. 


 
Website/social links https://www.corpscitoyen.org/

Broadcast: February 6th, 2025, Kunst zum Hören (Kunstradio)
 
Whalefall listens to the stories of leviathans, mythic and real.

Deep below rising sea levels, whales sing to one another across hundreds and sometimes thousands of kilometres. But whales' voices are changing and so is the way they speak to us. Their songs shift as they cross the oceans. Their pitch is moving downward, perhaps to be heard in an ever noisier seascape.

Whalefall listens to the stories of leviathans, mythic and real. These giants of the deep swim through our imagination, as sea monsters to be feared and tamed, the power of the state as conceived by Thomas Hobbes, and echoes of natural beauty. We hear the whales' calls echo, field recordings played back, their envelopes followed through modular synthesis. Pitch bends with depth and pressure and sub bass shudders as we dive deeper. We stumble into a haunted ballroom in the belly of a whale, before falling to the ocean floor.

The leviathan, it turns out, is human.

Whalefall Credits
Rebecca Giggs, author of Fathoms: The World in the Whale (https://scribepublications.co.uk/books-authors/books/fathoms-9781913348809)
Dr Alexandra Chadwick, Editor-in-Chief of the Hobbes Studies Journal
Dr Kennet Lundin, Senior curator of the Gothenburg Natural History Museum

With thanks to the Cornell Lab of Ornithology | Macaulay Library for the use of their archival recordings, recorded by Donald K. Ljungblad, Paul J. Perkins and Paul O. Thompson. 

https://oe1.orf.at/programm/20250206/784983/Im-Bauch-des-Blauwals

1 Pearl Smith Stewart - Can You Hear Me? 2025 (1:00)    
2 Chary Goodwin - Walking In The Abyss (6:29)        
3 Edoardo Pistolesi Somigli - Contemporaneamente (to Henri Chopin/ 1922-2008) (6:39)        
4 Craig Gell - Flora Day '25 (8:48)        
5 Dimitris Batsis feat. Brandon Invergo - A Communion (3:43)  

1) Pearl Smith Stewart - Can You Hear Me? 2025  
 
Created with pupils at Garnetbank Primary School, Glasgow, as a response to it being the site of the BBC’s first-ever Schools Radio Broadcast in 1924. Instead of revisiting the original material, I focused on the present pupils, recording audio of their thoughts on what would make the world a better place. The piece explores how collective, anonymous voices carry agency and impact.    

Glasgow-based artist, studying BA Sculpture Environmental Art at GSA, working with Sound, Video, Installation and Sculpture    

https://www.instagram.com/p34r11l/

2) Chary Goodwin - Walking In The Abyss    
 
Another sort of sound diary    
 
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

3) Edoardo Pistolesi Somigli - Contemporaneamente (to Henri Chopin/ 1922-2008)        
 
Sound poetry+ electronic research edit for Henry Chopin that explores the elements characterizing his poetics (revox reels, incomprehensible humor, alphabetic plots,  skeletons). Chopin revolutionized the anatomy of discourse with his semantic developments and his interplay of sound textures. A true pioneer in the making, still alive in our daily trainings of experimentation.
Main sonic source of inspiration was his amazing ability to swallow, to devour the word and the meaning with it, and to get sounds simultaneously in every performance. As he said for his work of concrete art "La Digestion" @ABC Television, Sidney in 1992,
– "the body is always like a factory!
It never stops – there’s no silence!"    

Voice
Renato Sclaunich, born in Gorizia, Italy in 1967, lives in Bolzano and elsewhere. Poet=visual poet=sound poet=musician. He has published several books of poetry, aphorisms, and fables, and had solo and group exhibitions in Italy and abroad. In 2004, he founded the unstable collective Zwiebeltruppen. In 2012, he created Edizioni Scarabocchio. He also works as an iron sculptor.

Sounds+ Freakquencies

Edø Pistø Sømi
Born in Florence, Italy, 1976- currently operating in Bergamo
Sound Designer- Producer
Sound Research_Sound art_Freakquencies_Experimental DJing_DADA c::nnecti::ns
Ambient/Noise/Acousmatic/Psychoacoustic/ out-of-the-box projects
Station manager@ Dots Unlimited Radio    

Website/social links  http://www.duradio.net
https://disc0saur.substack.com/
FB: Edoardo Dottilio Pistolesi
LinkedIn: Edoardo Pistolesi Somigli

4) Craig Gell - Flora Day '25          

Two snatches of ‘The Furry Dance’ recorded at Helston Flora Day street parade in 2025, capturing the sonic effect of the town’s marching band as it approaches and passes by the listener. The recordings are arranged in a palindromic fashion, with reversed sections of audio that invert the melodic ‘earworm’ and provide some variation. A comparative recording can be found on ‘Voice of The People Vol 16: You Lazy Lot of Bone-Shakers - Songs & Dance Tunes of Seasonal Events’ recorded by the BBC in 1943, issued by Topic Records in 1998.    

Craig Gell is an artist and musician from Bournemouth. His creative practice usually involves exploring the landscape making field recordings and using coding to produce multimedia installations, experimental compositions and interactive apps for remote and outdoor experiences. He has also produced two albums of his own guitar-led compositions, ‘Pomerania’(2024), and ‘The Pleasure Gardens’(2025).    

https://www.craiggellmusic.com
https://craiggell.bandcamp.com
https://www.instagram.com/craig_gell/

5) Dimitris Batsis feat. Brandon Invergo - A Communion  

A Communion is a cinematic sound piece exploring field recordings, voice, and spatiality as a narrative structure. The work was developed as a radio-centric sonic exploration in which musical textures intersect with narrative and ambient space. Blending musical and non-musical elements, the piece intends to create an immersive audio environment in order to engage the listener through shifting atmospheres and sonic perspectives.    

Dimitris Batsis — Sound artist / academic. PhD Biomusic (Univ. of Ioannina), MA Contemporary Arts & Music (Oxford Brookes). Coding-based sound works: installations, performance, audiovisual systems. Teaching: music tech (Greece/UK). Presented: CTM, ADAF, EMST, Onassis Stegi. Publishes internationally on sound art.
Brandon Invergo — Producer / DJ (Chicago techno, mid-2000s). Moved to Europe to pursue science; later returned to music with a steady run of self-contained albums. Experimental electronics / noise / atmosphere; genre-fluid. His work often explores memory, anxiety, and the emotional fallout of change. Based in Exeter, UK.    

dbatsis.com
https://www.instagram.com/dansmonsalon/
https://dansmonsalon.bandcamp.com/
https://brandon.invergo.net/
https://bandcamp.com/brandoninvergo

6 Julia Griner – Mudhole (5:55)        
7 Melas Eichhorn - VIS (2:11)
8 Ken Hannaford - Shortwave-tuning  (7:00)  
9 Finlay Hall - Who's Going To Win? (Rotterdam, January 2026) (16:58)      
10 - Matteo Preabianca – VietnameseDiary (1:19)

6) Julia Griner – Mudhole        

« The weird is marked by an exorbitant presence, a teeming which exceeds our capacity to represent it » (Mark Fisher, The Weird and the Eerie)
In « Mud Hole », space is subject to an intrusion. Something(s) are digging; a presence is intruding beneath the surface. Sounds that open and close, like dimensional rifts, are the undesirables that transform the landscape into a place of unease and speculation, where the real and the surreal merge.    

Julia Griner is a musician and sound artist. Their artistic approach lies in the use of sound as a tool for investigation and narrative to deconstruct and reinterpret reality. Whether the subject of study is the evolution of climate data, the complexity of power dynamics within an intimate space, or the uncanny nature of a disturbed landscape, the sonic process transforms territories into fields of inquiry where the listener is invited to engage in active and critical listening. Diversion, collage, shift, obsolete technologies, Bach, aliens, ghosts and the sonification of data are at the heart of her practice.
In parallel with her wanderings towards sound material, Julia Griner pursues sound design activities for museum institutions.    

juliagriner.com
Ig : @juliagrinerabraham

7) Melas Eichhorn - VIS 

http://www.melusineeichhorn.de

8) Ken Hannaford - Shortwave-tuning Ken Hannaford - Shortwave-tuning    

Shortwave radio has been used as a sound source by John Cage in the 1950's (Imaginary Landscape). His aim was to explore indeterminate events. Here the use of material is very different.  I selected particular events from several hours of broadcast, and then subjecting these to electronic manipulation. A more poetic title might be Bleak-landscape, and I think of R. V. Williams' final movement to the 6th symphony as being of a similar character.    

Studied music in Huddersfield and Southampton, the latter researching Peter Maxwell Davies. Took further degrees in Education which I still engage in on a voluntary basis in my 7th decade.
I have had compositions and arrangements played in Wales (my home), Italy and Germany as well as using YouTube (some 800,000 views and over 1K subscribers).    

https://studio.youtube.com/channel/UCBeNE-rJea1YMbdOipg4c3g/videos/upload?o=U&filter=%5B%5D&sort=%7B%22columnType%22%3A%22date%22%2C%22sortOrder%22%3A%22DESCENDING%22%7D

9) Finlay Hall - Who's Going To Win? (Rotterdam, January 2026)        

"Who's Going To Win?" is a live and completely improvised gameshow with no predetermined rules, prizes, or contestants - all of these are decided collectively and in the moment by the studio audience.

Hosted by Finlay J Hall and featuring the voices of Ash Kilmartin, and, of course, the Worm studio audience.
Recorded at Worm, Rotterdam in January 2026 as part of the Radio Worm Radio Relay.
     
Finlay J Hall
Artist, Musician (b.1996, Edinburgh)
Currently based in Oslo, Norway.
Studied at DJCAD, Dundee, and KHiO, Oslo.
Likes bringing people together, improvising, performing, making music.
Currently hosts radio show called Life Down Low, broadcasting 8-weekly on Radio Worm, Rotterdam.
     
https://soundcloud.com/finlayjhall
https://finlayjhall.neocities.org/

10) Matteo Preabianca – VietnameseDiary

The common thread running through this collaboration is the notion of a sensory perception that reaches beyond the human. Margarita Fert, who identifies as a neurodiverse person, calls this receptivity to non-human voices telepathy, while Alisa Vostiklap Savtchenko approaches it as a spectrum of consciousness moving through the material world. It was conversations between them on this subject that formed the basis of the project, proposing the idea that neurodiverse people are a few steps ahead of the neurotypical majority when it comes to empathic engagement with other beings and inanimate objects in their everyday lives. This practice of attention proposes a deviation from the pre-eminence of the human subject that is leading humanity towards ecological catastrophe, offering a radical alternative to the modus operandi of our society. The sound piece follows the mental pathways that arise from an exchange with a geranium plant, a Starbucks cup or a gambling machine.
 
Artist bios: 
 
Fert & Vostiklap is a collective formed by two friends who have known each other since the age of 11.
 
Alisa Vostiklap Savtchenko (1983, Kyiv) is a multidisciplinary artist based in Berlin. Much of her artistic practice revolves around interspecies communication, probing the porous membrane between the body-centered self and the multitude of different forms of consciousness. She is a member of the sound scenography studio TAUCHER.
 
Margarita Fert (1983, St. Petersburg) is a Montreal-based artist and poet whose practice is shaped by telepathic conversations with non-human beings. Working across drawing, painting, and writing, she develops visual works through ongoing dialogue with these interlocutors, who at times guide their imagery and composition. An activist for animal rights and veganism, she also creates temporary urban interventions engaging with these causes. She is currently completing a collection of autobiographical essays and is a member of the Montreal association for neurodiverse artists Les Impatients.

Website/social links:
http://www.vostiklap.com
https://www.instagram.com/margaritafert777/

Tascam DR500 Recording of car trip with two kids in the back to and from Gorbals Glasgow Club Swimming lessons 2026 with Roland SE-02 and Behringer Spice synths added for depth and texture.     Artist bio:   Avid Radiophrenia follower and contributor with a sonic background in limited DJing and performances undertaken in Edinburgh and Glasgow throughout the noughties and 2010's at various doomed alternative/experimental club nights. Keen street sound and ambience recorder who likes to capture the world around and familiar places. Former keyboard player with indiepop band the Just Joans. Monthly CampRadio show broadcaster as part of duo Lout and Frame and late night recording output through the Ladywell Lout moniker.       Website/social links   https://www.facebook.com/theLadywellLout/ https://twitter.com/ladywelllout https://theladywelllout.bandcamp.com/ https://www.youtube.com/channel/UChGFbw8nJ4qmkMKns1Jz3wg https://open.spotify.com/artist/3RkKiio19f5Wus0I3PyIU6

1 Andrea Ray - The Sound of Women's Rights (5:00)     
2 Cameron Naylor - Within the Whispering Gallery (9:00)      
3 Ilaria Boffa - Accumulation  (4:45)     
4 Fahmi Mursyid - Sounds of Aglaonema (5:00) 
5 Eleni-Ira Panourgia – Cellinsct (13:00)

1) Andrea Ray - The Sound of Women's Rights 
 
From the track, chants from women's marches are heard (1970-present day mixed with suffrage chant reenactments and sound effects). It is as if a magical device has skipped through time to make audible the feminist voices refusing to be quiet; of a history yet to be attained.      
 
Focusing on the possibility of collapsing time through affective contact between history and people, Ray's work embodies textual and discursive approaches to the politics of belonging, community, and empowerment. Ray earned a PhD in Fine Art in 2018 from the Malmö Art Academy. An Art Matters Fellow, Ray has exhibited at PS1 MoMA and Sculpture Center in NY, Wanås Foundation and Skissernas Museum in Sweden. Their work has appeared in Art Forum, New York Times, and Bomb Magazine. 
 
http://www.andrearay.net
IG: ARay5
 
2) Cameron Naylor - Within the Whispering Gallery     
 
Whispering gallery refers to the way that sound travels close to a curved wall, creating an artificial sense of intimacy in otherwise expansive rooms. I wanted to capture and represent this phenomenon, using the juxtaposition of the distant and intimate in a large venue as an exploration of two contrasting spatial perspectives, and how they form in quiet public settings to create scenes of quietude and chaos.     
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
 
3) Ilaria Boffa - Accumulation  
 
This sonopoem is a celebration of the unheard, unseen, the hidden. It’s an act of affirmation through what is missing, absent or disappeared.
Field recording taken by Ilaria Boffa in the Euganean Hills in Northeast Italy w/ zoom H6 and music performed on Lyra 8.
 
Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London. 
 
https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa
https://www.instagram.com/ilaria.boffa/
 
4) Fahmi Mursyid - Sounds of Aglaonema        

The sonic output generated by an Aglaonema plant playing an FM synth module via a biodata sonification device is a uniquely organic and ever-evolving tapestry of sound. Because the music is generative and real-time, it possesses an inherent unpredictability; gentle, sustained notes might suddenly give way to faster, more complex melodic fragments, mirroring the plant's dynamic engagement with its environment.     

Fahmi Mursyid is a composer, contemporary musician, experimental artist, multimedia designer and producer based in Bandung, Indonesia. He uses found objects (acoustic and electronic instruments) and computer to create glitch sound, sampling, granular synthesis, shimmering, swirling electronic sound of enormous range and complex-simple musicality. His music featured on Muestra internacional de Música Electroacústica (Mexico, 2018), SOUND/IMAGE19 (UK, 2019), Australasian Computer Music Association (Australia, 2020). His albums that have been released are Tanah Merah (Maryland, 2018); Sejarah (Czech, 2018); Alam (Italy, 2019); Akur (Indonesia, 2019); Krakatoa (California, 2019); One Instrument Sessions 03 (Germany, 2019); and Suasana Lain (UK, 2025).     

https://tinyurl.com/fahmi-music-2025
 
5) Eleni-Ira Panourgia – Cellinsct    

Cellinsct is a series of short sound experimentations that propose an interplay between audible and inaudible manifestations of spatiotemporal scales of human and non-human perception. Soil recordings and cello sounds are processed in response to each other. Signals of non-human activity, including reactions of soil organisms such as insects to environmental conditions and changes, guide this process. At times, this unfolds in a biomimetic-like manner, and at other times as an adjustment to soil frequencies, exploring ways to be heard together through complementary textures and rhythms, or even competing elements. Cellinsct is an invitation to learn how to sense beyond our human body.     

Eleni-Ira Panourgia is a sound and visual artist, and researcher. Her work focuses on the development of new forms of expression and creative methods that combine sound, objects, spaces and environments. She explores the potential of such complex morphologies within artistic, design, social and ecological processes. Eleni-Ira’s work has been presented internationally in museums, galleries, festivals, exhibitions, radio shows, academic journals, edited volumes and conferences. Eleni-Ira completed a PhD in Art at the University of Edinburgh as a Scholar of the Onassis Foundation. She is Assistant Professor in Artistic Research and AI at Malmö Theatre Academy at Lund University.     

https://eleniirapanourgia.com/

1  Magz Hall – The Source (1:37)
2 Mark Peter Wright – Soundings (6:06)
3 Hans Parment – Dive (5:15)    
4 Ladé - Sage green (1:45)
5 Gracchi Administration - National Scandal (6:08)    
 
1) Magz Hall – The Source 
The Source is a radio poem about water and air pollution inspired by the journey from the peaks of the Pyrenees to the Aulus-les-Bains.
This soundscape poem traces the environmental cycle of the Pyrenees, beginning at the summit with the ethereal, celestial drones of a handmade Aeolian harp made by the artist played by the mountain wind. This pure, high-altitude harmony gives way to the intimate, rhythmic clink of mineral water being captured in bottles at the Aulus-les-Bains spa, marking the transition of the wild flow into a measured, medicinal dose for Gallo-Roman legacy cures and modern cholesterol treatments. The poem reaches its chilling resolution as the water evaporates from the valley and rises as condensation, carrying the "ghosts" of human industry back into the air. This mist eventually cools and falls, completing the cycle as it returns back into the river. The piece concludes with hydrophone recordings of the river, where the submerged, percussive thrum of the water acts as a final, dark witness—the persistent echo of the valley trapped within the rising mist, a sonic residue of exhaust and pollution flowing once more through the current.
https://magzhall.com/

2) Mark Peter Wright – Soundings
What constitutes the scope and scale of a site beyond the conventions of mapping? How can we un-measure in asynchronous rhythms and soundings?
The process of making this sound work involved setting a microphone on the floor, walking ten paces in one direction, counting to ten whilst standing still before walking back toward the microphone for ten paces, and then passing beyond it for another ten paces. Finally, I pause and stand still for another count of ten.
In the edit suite, I cut the initial walk away from the microphone and the final walk toward the microphone. Leaving audible only the first pause moment, the walk-by action and final pause. Recordings are then faded into one another to create the experience of one impossible movement through time and space.
All exterior and interior recordings were made on site during an artist residency at Cove Park, Scotland.
    
Mark Peter Wright is an artist, researcher and writer. His practice mixes critical theory, sound and experimental pedagogy across installation, publication and performance. He is interested in the relationship between fieldwork, documentary forms and the gallery or studio, examining the ways technology, self and space perform agency, power and poetics. Wright is the director of CRiSAP (Creative Research in Sound Arts Practice), an interdisciplinary research centre dedicated to sound arts practice and theory based at the London College of Communication, UAL. His recent book Listening After Nature: Field Recording, Ecology, Critical Practice is published by Bloomsbury (2022/23).    
https://markpeterwright.net/

3) Hans Parment – Dive    
Composed in 2025, this piece depicts color reproduction during deep sea diving, where the light frequencies that give color to plants, fish and rocks disappear the deeper you dive. First, slow wavelengths disappear until only the fastest ones remain, from red, orange, yellow, green, blue and finally violet.
I have transposed from wavelengths between 405-690 THz to the audible frequency range. The design is done with 63 oscillators that generate a sine tone each and form an impure A# minor 7th chord with a range between 40-10,000 Hz.
The piece has a chord progression I-IV-V-V-I and is based on the A# minor 7th chord's harmonic series. Dive's form is based on the golden ratio.
To the listener:
• By moving your head slowly you will hear different tones arise.
• The piece is in mono and there are no sudden, surprising dynamic changes in 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

4) Ladé - Sage green
Taken from Chia Seeds, a selection of sample based ambient sounds. Intuitively made, emotionally driven and trance inducing.      

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

5) Gracchi Administration - National Scandal
National Scandal is a short audio work comprised of spam voice messages recorded on my mobile phone. The facility to do this was made possible through the use of a recent feature added by the phone manufacturer called "call screening". I used various methods to process these "found sounds", including live coding environments (Tidal Cycles), Max MSP and in some instances, I did not process them at all. The shifting sonic montage that accompanies the source material situates it into unusual spaces. Whilst editing this work, it felt more like editing various film clips into a disassociated montage than editing audio for a seamless linear audio experience. I believe this non-linear, montage style of story telling, often seen on film, is uniquely compelling in a radio broadcast setting. Here, the audio guides the listeners imagination and engages the abstract mind to unfold a narrative.      

I live and work in London as a musician and composer. My main areas of creative interest are sound art, audio-visual work, field recording and experimental documentaries, discussing the

When the world is collapsing into a gigantic question mark, you wonder whether it'd make sense to turn to fiction for answers. But in the end the only answer you'll find is there is no answer. La Lutte continue...   Artist bio: Chin Li, originally from Hong Kong and now living in Edinburgh, has worked as a clinical psychologist in the English as well as the Scottish NHS mental health services for many years before turning to writing full-time. His fiction and poetry are published in various literary journals and magazines, including Confluence, Glasgow Review of Books, Gutter, Postbox, Southword and Unpsychology. Some of his audio works have been broadcast on Radiophrenia over the past few years. He is still learning how to tell stories truthfully.