Mon 7

Locked in a community radio station at midnight, I mined their extensive collection of vinyl to DJ an hour-long set made entirely of the lockgrooves at the ends of records where the last track of that side referenced sleep, night, dreaming, radio, broadcast, the music industry, solitude, and fame. The result shifts between being an undanceable rhythm, an analog raga, a meditative dub-track, and a contemplative ode to the dark.

This version was recorded live at CHMA and curated by Struts Gallery in Sackville, New Brunswick.

Playlist:
"Another Night in the City" (Beau Geste, side A of Still of the Night)
"In Visible Silence" (The Art of Noise, side A of Backbeat)
"Fill Up the Night" (Sadao Watanabe, side A of Dreams Come True)
"By Request" (Billy Vera and the Beaters, side B of Here Comes the Dawn Again)
"Test Patterns For Living" (Blue Peter, side A of Time and Money)
"A Matter of Time" (Rox Band, side B of One Day)
"Radio Waves" (Roger Waters, side B of Going to Live in L.A.)
"Tonight" (David Bowie, side B of Tonight (dub mix))
"Babble" (That Petrol Emotion, side A of Static)
"In the Heat of the Night" (Tapps, side B of Hurricane (Mega-Storm mix))
"Press to Play" (Paul McCartney, side B of However Absurd)
"Hot Wires" (Roy Buchanan, side B of The Blues Lover)
"Down to the Moon" (Andreas Vollenwieder, side B of La lune et l'enfant)
'Shadow Play" (Vis-A-Vis, side B of Shadow Mix)
"Crimes of Conscience" (Cry Before Dawn, side A of Second Sight)
"Rich and Famous" (Blue Mercedes, side A of Your Secret is Safe With Me)
"Seduced by Money" (The Thieves, side A of When I Wake With Someone New)
"The Line Between the Devil's Teeth" (Peter Murphy, side B of Blind Sublime)
"Fear of Music" (Talking Heads, side A of Memories Can't Wait)
"You Must Be Prepared to Dream" (Ian McNabb, side A of You Must Be Prepared to Dream)
"Illustrated Musical Encyclopedia" (Ryuichi Sakamoto, side A of Paradise Lost)
   
Artist bio:  
Born and raised on the Canadian prairies, I remain convinced there's no better place to contemplate nothingness. When the landscape is just a single horizontal slash, emptiness becomes a comfort; when the cold makes you need other people on a mortal level, absence becomes a terror realized. (Isn't it curious how place shapes us?)
I am a contemporary artist whose practice includes video, photography, sound, installation, performance, and text. I studied art in Canada and Germany, and have taught media art at Universities for the past 20 years. In 2017, I represented Canada at the Glenfiddich Artist Residency in Dufftown.    

Website/social links  
http://noattainment.com
@hendersontheyounger (Instagram)

I spent the April 8, 2024 total solar eclipse at Montezuma National Wildlife Refuge in upstate New York—a vast wetland along the migratory flyway. I made two simultaneous field recordings: one of the ambient soundscape and one from a custom 4-oscillator squarewave synthesizer that translates light to pitch. Rather than showing the eclipse, this piece documents the ecological, social, and atmospheric effects of the environment during the darkness of total eclipse. Learning that some Indigenous communities, including the Diné, traditionally observe eclipses through quiet reverence, affirmed the choice to focus on presence rather than spectacle. This iteration honors the natural timeline of the event, preserving the sonic unfolding: eerie quiet, surging animal response, surreal synchronicity.  Artist bio:   AC Diamond is a sound and media artist working across live performance, creative technology, and archives. Their work takes place in galleries, theaters, DIY venues, unconventional venues, and public spaces. Active since 2009, AC holds an MFA in Electronic Music and Recording Media from Mills College and a BA from Bennington College, and currently serves as Adjunct Faculty in Music Technology at NYU Steinhardt. AC’s work has been supported by a NYFA/NYSCA Fellowship in Music/Sound (2022-23) and a Van Lier Fellowship at Roulette Intermedium (2020), as well as grants from NYSCA/Wave Farm, the Foundation for Contemporary Art, and Antisocial Music.     Website/social links   ac-diamond.com  @ac____dmnd (instagram)

This is one of a series of pieces made using recordings of Yorkshire forced rhubarb growing in the dark. It was created for an installation with David Velez in Huddersfield. The sounds of the growing rhubarb are combined with generated sine waves and the ambient atmosphere of the shed where we recorded late at night. All the pitches are derived from the spectral content of the snapping sounds the plants make as they grow in darkness, searching for light.    

Artist bio:  
Duncan Chapman is a UK-based composer, sound artist and producer working across electronic music, installation, performance and community-led practice. Duncan’s work explores listening, place and atmosphere, often combining field recordings, live electronics and acoustic sound in site-specific contexts. He creates immersive environments for galleries, festivals and public spaces, alongside collaborative projects with musicians, artists and local communities. Duncan’s practice is rooted in careful attention to space, texture and audience experience, with a strong focus on accessibility and participation. His work has been presented internationally and across the UK, including major festivals, arts centres and public realm settings.    

Website/social links  
http://www.duncanchapman.org/
https://dronespace.bandcamp.com/
https://www.facebook.com/duncan.chapman.566

"erased, revisited" is a variable-length improvisational performance for modular synth, voice, and an archive of cassette tapes collected over many years from  thrift stores and flea markets. The tapes carry eulogies, hospital relay communications, biometric signals, retirement celebrations, and recordings by residents in long-term care. Played through tactile, manually controlled tape devices, the recordings rarely remain stable. Sounds drift, falter, and fragment as electronics and voice respond in real time. Revisiting material first explored over two decades ago, the work reflects on care, distance, and vulnerability.    
Artist bio:  
Paul Catanese is a hybrid media artist whose work spans installation, performance, sound, experimental opera, projection, net.art, and printmaking. While long working with modular synthesis as a studio tool, his recent performance practice extends these processes into live contexts with modular systems, tape-based media, and voice. His work has been exhibited  at institutions including the Whitney Museum of American Art, Chicago Cultural Center, New Museum of Contemporary Art, Ann Arbor Film Festival, and the International Symposium on Electronic Art.    

Website/social links  
http://www.paulcatanese.com/
https://www.instagram.com/paul_catanese/

The idea of this media project is an immersive intimate experimental audio play. The work provides a listener with an experience of intimacy and fosters closeness between the sounding and the consumer. Motivation for the choice of a project is a long time interest in exploring the genre of audio play. Moreover, this project becomes a next step in a personal ongoing research on extended vocal practices and human voice as an instrument. The work on this project includes research on the genre specifications of an audio play, areas for experimentation and approach to script writing; deepening knowledge on vocal exploration methods; developing approaches and techniques that provide intimate experience through sound; defining overall sound aesthetics.      

Artist bio:  
I come from a background in academic painting and contemporary fine art, having originally worked in painting, sculpture, and moving image media. My creative journey has taken me through six universities, ultimately leading me to discover my passion for the intersection of visual and sonic art and, ultimately, to sound art. So far i've been working with sound on its own, exploring its agency, as well as body+sound explorations.    

Website/social links  https://soundcloud.com/ja-toto

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/

The 2025/6 Conduction Series    

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

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

1 Yuxin Hu – Silence (5:36)  
2 Valentin Sismann – Erosia (17:10)
3 Dan Antoniu - Electric Creek (6:25)

1) Yuxin Hu – Silence

The sentence “Silence, I discovered, is something you can hear”—originally from the novel Kafka on the Shore—was chopped and played “randomly” by me during the live performance. (The book is incredible, definitely in my top 3 of the year :D)
I think that when a complex sentence is deconstructed into simpler fragments, each fragment reveals its own intensified meaning, which in turn amplifies the meaning of the original, more complicated sentence.
I try to make the reading sentence experience as a sonic looping and floating adventure, so you can feel a bit of what the character experienced in the book, even you haven’t read it yet.

So… what is silence?
 And what is the silence within yourself?    

Yuxin Hu is a sound artist based in the Netherlands. or you can call her a noiser. She creates experimental music, sound installations, and free improvisation, or interdisciplinary artwork based on an acoustic-electronic approach. "Acoustic" means all the sound sources are from realism, while "Electronic" lets it lean a bit to surrealism. Currently, she is a music master in Sound of Innovation, ArtEZ University of Arts. She is doing research on making free improv based on daily life objects such as Bluetooth mouses, cups, shelves, etc., aimed at speaking for daily life objects and freeing them from their default functions.    

https://www.instagram.com/frozen1900_/
yuxinhu.com


2) Valentin Sismann – Erosia

Beneath the cliffs, the sea crackles. Secret life of the waves, of the wind, without anyone, existing. Outside, a shitstorm of machinery and bodies. Consuming. A pseudo-embodiment of the living.
Two impressions of the same show. Erosion, scum. Autophagy is fantastic. Especially in music: l'art se nique.    

Valentin Sismann (born in 2002 in France) develops a practice that combines acousmatic composition and video. He explores the idea of expanded music, where sound and visuals are expressed in ways that are either poetic, narrative, or conceptual. His works focus on our relationship with technology, particularly recording media, which he questions and manipulates within critical or imaginary spaces.
valentinsismann.com
 
3) Dan Antoniu - Electric Creek

Electric Creek is a work that is made from a recording of frogs in Madison SD. The recording is augmented slowly distorting the recording’s perceived reality through layering screams and multiphonics. Audio processing and video shaking were used to distort the material further.    

Drawing on the intensity of sound and his Romanian heritage Dan Antoniu creates visceral sonic experiences. Utilizing gestures, transformations, and electronics Antoniu’s work serves as a ritual to create new perceptual environments for the audience and performers to inhabit.
    
https://www.youtube.com/@danantoniumaestrodistortion
https://danantoniu22.wixsite.com/my-site-3/recent-works
https://www.instagram.com/maestro_distortion/
https://www.facebook.com/dan.antoniu

1 Pepijn Gyssels - Swedish Ecstasy (18:08)
2 Stephen Bradley - Slow Thaw (10:00)
3 Water Feature - Various Birds - 04 miniature quail (1:07)

1) Pepijn Gyssels - Swedish Ecstasy
 
This is an existing piece PiP made for an exhibition in Bozar (Brussels). The expo brought together a number of figureheads from the Swedish art scene, whose work was embedded in mysticism and esoteric speculation. The sound piece aimed to create an optional, extra layer to the visitors' experience. This soundscape lets you wander through compelling textures and atmospheres, rather than clarity. A voice gently interrupts this dream state from time to time, pivoting into unknown poetic territory.    

PiP is short for Pepijn Gyssels. He is a field recordist, music producer and DJ, based in Brussels. His main occupation is the act of listening. He aims to create moments and focus on the sounds that rave within them. He travels with with microphones and harvests the sounds he encounters. In this piece you can hear thunder in Portugal, but also a street in Venice and some distant cries of prisoners. Tijn Driessen created additional synthetised sounds and his sister, Maud Gyssels, wrote the words, brought to life by the voice of Gemma Allen.    
http://www.pepijngyssels.com
https://www.instagram.com/pip_sound/
https://zitstill.bandcamp.com

2) Stephen Bradley - Slow Thaw

"Slow Thaw" is a radio sound artwork composed from the perspective of a glacier slowly melting. Its voice is formed through deep resonant drones, subtle cracks, and the murmur of meltwater, unfolding at an increasing pace. Against this interior landscape, the distant rumble and grind of human consumption presses onwards—growing louder as the ice thins and the oceans and seas rise. The composition contrasts geological time with ecological urgency, tracing transformation rather than spectacle. As the glacier dissolves into the ocean, its mass becomes absent, and rising seas carry forward the memory of what once stood solid and still.    

Stephen Bradley is an interdisciplinary artist whose practice maps and traces our relationship to place through sound, photography and recorded stories juxtaposed with artifacts discarded or lost in the landscape. Bradley has received awards from the National Endowment for the Arts; Sonic Circuits VII: Walker Art Center; Museum of Contemporary Art Kiasma, Helsinki; Bienal de Arte Contemporaneo de Sevilla, Spain; and Hull Time-Based Arts, UK; Sandao Gallery, Xiamen University and VArts Center, Shanghai, China; radioCona FM, Ljublijana, Solvenia; WaveFarm, and Ricco Maresca Gallery, NYC.   Bradley is a faculty emeritus from UMBC, visual arts, Baltimore, MD and lives in Raleigh, NC- USA.    

https://urbantells.net/

3) Water Feature - Various Birds - 04 miniature quail

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

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

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

Clouds is a sound fiction unfolding between sky and earth. Imaginary beings and animals guide our steps through a sky in motion. Each layer has its own distinct character: Cumulus, Stratus, and Cirrus invite us to navigate their unique densities, colors, and musicalities. The air—sometimes warm, sometimes cold—lifts us to shifting heights, revealing cloud-poems, clusters of droplets with floating phrasing.

Moods are like a changeable sky. No one lives under a perfectly uniform sky, nor one that is entirely grey or blue; it reminds us of impermanence.

And you—what color is your sky today?    

Artist bio:  
Anne Lepère is a sound artist, composer, and radio producer whose work explores the poetry of everyday life between urban and rural spaces. Trained in Brussels hubs such as ACSR and at Royaumont, she has been creating radiophonic pieces, music, and sound design for theatre, dance, performance, and film since 2013. A recipient of several awards, she authored Autopoïèse (2019) and Area (2022), innovative works blending documentary, poetry, and explorations of time. In 2025, she completes Nuages, a new long-form radiophonic piece produced by Babelfish, ACSR and Semi-Silent, combining the sonic score of clouds with collective writing.    

Website/social links  
http://www.annelepere.net/
https://soundcloud.com/anne-lepere
https://www.instagram.com/anne_lepere/

A continuation of sorts of a series I produced for Resonance FM back in the year 2002. Each episode was haphazardly constructed from a ramshackle archive of disintegrating open reel tapes bought from a car boot sale in Derby. This lost episode of The Derby Tape Recording Club came about when a whole new batch of tape recordings were discovered 10 years ago. Martin Stanway, a former member of the club and son of Alf Stanway, the club chairman sent a selection of these recordings that were featured on local station Radio Derby over the course of a week. When I heard about this I of course got in touch and struck up a correspondence.  Martin has since generously shared with me all of the recordings he had digitised along with photographs and other ephemera. Martin and his family emigrated to Australia in 1969 leaving their friends in the club behind but they still kept in touch through taped messages, some of which are included in this piece. Produced by Mark Vernon. Biography: Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.   http://meagreresource.com

"Whips of sorrow" is an improvisation with electromagnetic frequencies on stolen land, lutruwita, about female convicts archival data. Excerpt from a live performance at TMAG (the Tasmanian Museum and Art Gallery) for the Dark MOFO 2023 festival, by the nipaluna Hobart based Radio Art duo Sisters Akousmatica (Julia Drouhin and Phillipa Stafford).
 
Artist bio:  
Sisters Akousmatica has been expanding radio projects to explore the radical possibilities of transmission since 2015 within collective and feminist radio practices. From Broom Broom car to Sea Hag boat, Sisters Akousmatica navigate on the edges of ‘legitimate’ broadcast.
 
Website/social links 
https://wavefarm.org/ta/archive/artists/swt69g
https://www.instagram.com/radioqueens/

1) Antje Vowinckel - Fälle und Vorfälle (Toppling and tumbling) (6:41)
2) Hildegard Westerkamp - Kits Beach Soundwalk (9:48)
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Bastejkalns  (1:32)
 
1) Antje Vowinckel - Fälle und Vorfälle (Toppling and tumbling)

The entire composition is based on the sounds of spinning tops. Cuts into the course of the sound destroy the typical structure, isolate single phases and focus on the melodies of Toppling and Tumbling.
Different Shapes of the tops as well as different materials of the underground ( base drum, paper, metal, fabric, stone) provide the numerous variations of the sound.

Biography
Antje Vowinckel is a Berlin based  composer, adio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as  Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at  concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin.
For her compositions with sound bites she developed the methodes of Automatic Speaking and  Dialect-Karaoke.  Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece  Call me Yesterday was broadcast and presented in 18 countries.
Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize (see below).

https://antjevowinckel.de/en
 
2) Hildegard Westerkamp - Kits Beach Soundwalk (1989)
 
In the late seventies I produced and hosted a radio program on Vancouver Co-operative Radio called “Soundwalking”, in which I took the listener to different locations in and around the city and explored them acoustically. “Kits Beach Soundwalk” is a compositional extension of this original idea.

Kitsilano Beach — colloquially called “Kits Beach” and originally named after the Squamish First Nation chief X̱ats’alanexw (Khahtsahlano, 1877-1971) — is located in the heart of Vancouver.

In the summer it is one of the most crowded beaches in Vancouver, packed full with sunbathers. At the time the piece was created, in the late 80s, it was also filled with music coming from many “ghetto blasters”, indeed light years away from the silence experienced here not so long ago by its indigenous inhabitants.

The original recording on which this piece is based was made on a calm winter morning, when the quiet lapping of the water and the tiny sounds of barnacles feeding were audible before an acoustic backdrop of the throbbing city. In this soundwalk composition we leave the city behind eventually and explore instead the tiny acoustic realm of barnacles, the world of high frequencies, inner space and dreams. 
 
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Bastejkalns   

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

(de)touch, a binaural radiophonic composition, is an obvious nod to Jean-Luc Nancy’s project on touch. When Jean-Luc Nancy says that ’[t]ouch belongs to every part of arts because touch belongs to every part of senses,’[1] he is arguing not only for touch’s primacy in every sense, but for the reason for its primacy in senses; being a movement in and of itself (‘when the movement stops, touch stops’), touch is the process, performance in other words, of every sense. As such, the being and the becoming of touch are inevitably fused. Every sense, including listening which is hearing’s becoming, performs touch as it creates and activates the ontologies of every sense. But how exactly does touch work here in listening? How does it move or perform? What does it produce and what are the consequences for listening? What do we ever get to know things that we listen to? Do we ever get to know things by listening?

With (de)touch, I would like to tackle these questions, first by rendering sonic touch-images, if you will, of (intuitively speaking) and about (rationally or inferentially speaking) listening-with. Here the ontologies of listening-with are taking cues from Nancy’s being-with, which he develops from Heidegger’s Dasein whose existential condition is being-with others [2], as well as his analysis of the very act of listening [3]. Compositionally speaking, these are to be explored through creating various kinds of listening-with-others and observing the gaps and spaces, and the push-pull forces that these will engender. Secondly, with (de)touch, I aim to emphasise that listening as touch acts on the in-between space of limit and possibility[4], a distance or proximity that Nancy said touch needs to exist, and that it is precisely in this way listening touches—at the limit or on the surface of—what we can posit as knowing. Accordingly, equal attention is paid to the negative movement of listening as touch (hence the prefix, de-).

(de)touch explores listening as touch and (de)touch in the composition with various excerpts from the field recording that I have done for Futures of Listening: Water Knowledge from Two Cities. Here, the structure has a loose two part-form. I hope that this two-part structure will give much emphasis on the process and effect of each movement of listening: touch and de-touch.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:

Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.
 
http://reddoorsound.com/

Developed over several visits to an island, the work began as an attempt to assemble an audio document of the place. Gradually, the process shifted from recording to construction, and the field recordings became a point of departure rather than material presented directly.

A single oscillator was treated and layered to unfurl its tone into a broader sonic environment, sketching over the sounds of the island. The synthetic tracing eventually displaced the field recordings, leaving behind a sound world as a memory of place.    

Artist bio:  
Jack Vickridge is a Glasgow-based artist working across sculpture, print and sound.

Website/social links   
http://www.jackvickridge.com
http://www.instagram.com/theemptyfoxhole/

1 Anastasia Freygang - 1day copy radio (8:26)
2 Giovanna Turrini - Head Above Water: Baum im Ohr. Proceed (7:15)
3 Emily Berry and Owen Duff - Ghost Dance (11:06)    
4 Dibakar Saha - Drowning to Stay Afloat (3:40)

1) Anastasia Freygang - 1day copy radio

These post-literate incantations reverberate out of time and on a rainy day, imitating the language of exile. They find themselves traversing regions in a 1day copy with resounding fountains in Bulgaria and with London's Turkish Radyo Umut's hickups recaptured in the shell of a boat. Homage and water-borne they are echo-ing : 'for my bottom to be pushing into my shoulders/ so i lower my forehead, and see nothing' from a battery-powered amp.    

Anastasia Freygang is suny tobt fum in concert. Fond of creating sonic collisions that initiate movement her creative practice covers language and presence in the widest sense.

By using basic computer functions, fieldrecordings and low-fi feedback principles there is a spatial quality adding to collapsed timelines and song. Currently her experiments with voices, polyrhythms and textures delineate narrative structures live via events she curates, and in support of moving image, performance and radio transmissions.
     
https://69pleasuredome69.bandcamp.com/
https://anastasia-freygang.com/
@ragamash_sandybaum

2) Giovanna Turrini - Head Above Water: Baum im Ohr. Proceed

A sonic deconstruction of the opening lines of R.M. Rilke’s “Sonnets to Orpheus” (I, Part I): "Da stieg ein Baum. O reine Übersteigung! / O Orpheus singt! O hoher Baum im Ohr!" ("There rose a tree. O pure transcendence! / O Orpheus sings! O tall tree in the ear!", trans. S. Mitchell). The work deploys diverse vocal interpretations (reverse-processed, total vocal occlusion, humming, whistling, laptop-driven "stop-and-go") coupled with object rhythmics and field recordings (e.g. urban scaffold building, an AI-generated voice of an elderly Japanese man from metal ashtray beating under the reverberating, historical Ponte Balbis, Turin - signalling fatigue/effort-, kitchen wooden spoon rhythmics, cracking ancient church wooden benches/floors) to try and ‘build’ Rilke’s necessary tree/wood(s) in the ear of mankind out of our unintelligible times. The narrative ends with a (self-ironic) live applause over the non-ironical closure ‘And “The rest is silence". Hamlet’ (in Italian). Prepared for Radiophrenia’s 2026    

Giovanna Turrini – BRIDGES – she/her, M.A.: Venetian vocal inter-media composer and sound researcher, registered Music Composer at SIAE (Italian PRS) since 2004. With a solid academic backup (Venice, Seattle, Düsseldorf) and proven experience managing complex projects (budgets up to €20k), her work focuses on acoustic authenticity through a three-octave vocal range, original hydrographic datasets, own field recordings, and A.I. critical experiments (no use of audio libraries/presets/plugins).
Her productions include works featured by Goethe-Institut Turin, Jewish Community of Turin/Regione Piemonte, Poetry Biennale Alessandria, and Festival CHIGIANAradioarte.it 2025. In 2026, she is scheduled for a monographic series (four "studiezondag") on radioarte.it.
    
Landing Webpage: new.express.adobe.com/webpage/Rkel3QrhISiEv
http://www.youtube.com/@BRIDGES-giovannaturrini
bridgesgiovannaturrini.bandcamp.com/
http://www.linkedin.com/in/giovannaturrini

3) Emily Berry and Owen Duff - Ghost Dance
   
Ghost Dance is collaborative, polysonic, polyvocal piece which explores the lingering effects of childhood grief in adulthood, through a collage of sounds and voices. The poem thinks about how a person's different selves commune across time, and how the living and the dead commune also. The poem was first published in Emily Berry's collection Stranger, Baby. Sound design and composition by Owen Duff.

Emily Berry is a poet with three books of poems published by Faber & Faber. She scripted and presented the BBC radio programmes My Sylvia Plath (2023), Dreaming of Connie Converse (2024) and The Little Box Which Contains the World (2026), and is editor-in-chief of the bedtime stories app Sleep Worlds. Owen Duff is a queer singer-songwriter, composer and sound artist. He has recorded five EPs and five albums, and his songs have been aired on BBC Radio 6, BBC Radio 3 and BBC Radio London. His sound work has been Highly Commended in the Sound of the Year.    

https://owenduff.co.uk/
https://www.emilyberry.co.uk/

4) Dibakar Saha - Drowning to Stay Afloat    

Underwater recordings form the dominant sonic field in Drowning to Stay Afloat. The aquatic space acts as both material and metaphor. Sounds move slowly, blurred and heavy, as if heard from beneath the surface of the present.
Within this imagined underwater space are fragments of contemporary human life. When something sinks underwater, it softens, breaks apart, and loses its sharp edges. The embedded sounds are processed to evoke this disintegration. Almost washed out, but something remains. Distorted contours that resist disappearance.
With this piece, I try to express what it feels like to live in an era defined by an abundance of information, and reaction, and a scarcity of meaning and empathy. Listening becomes similar to drowning. Everything surrounds you, yet nothing is fully grasped.    

Dibakar Saha is a Kolkata, India based sound artist, and a graduate of the Satyajit Ray Film and Television Institute. His practice is rooted in sound art, installation, immersive audio, and field recording, with a focus on experimental and spatial forms. He has collaborated on VR works, multichannel films, and interactive web installations presented at IDFA, Sheffield DocFest, Berlin Biennale and Serendipity Art Festival. A Fellow of the 2022 BIFF Asian Film Academy in Busan, his work in films has been shown at national and international platforms.    

http://www.dibakarsaha.com
@theblueorangutang @silenceplease.wav

1 Bláithín Mac Donnell - The road cuts through (8:02)    
2 Chatori Shimizu – Shinkaigyo (5:12)
3 Jo Kennedy - Holding the Rain (11:20)
4 Myriam Bessette - Sans alerte (3:46)    

1) Bláithín Mac Donnell - The road cuts through

The road cuts through is a performative monologue layering fact, fiction and anecdote. Soil is excavated, roads are constructed and lakes flood as stories entangled in the land are unearthed.
     
Bláithín Mac Donnell is an Irish artist who explores how we share and retell stories through performance, text, collage and sculpture. Concerned with the entanglement between rural and digital infrastructures, her work seeks to attend to a sense of place by meshing the past, present and future. Currently a PhD researcher at NCAD, Dublin her practice based research explores liveness in performance through voice and narrative. Bláithín holds an MA Photography from the Royal College of Art, London, 2015 and a BA Fine Art from Goldsmiths, London, 2012.      

http://www.blaithinmacdonnell@gmail.com
@blaithinmacdonnell
 
2) Chatori Shimizu – Shinkaigyo
 
"Shinkaigyo", which is translated into "deep sea fish", was written in fascination of the ocean. I was always intrigued, and at times terrified, by the sea, which is still largely untouched and deeply mysterious to humanity. The audio and its excerpts were used as the soundtrack in "Nihonkai" (2014), installation by artist Ayaka Miyauchi, and for the short Korean film "Artists are Always Hungry" (2014). In the same year, it was selected for the 60x60 WaveFarm Mix International Open Call, broadcast on WaveFarm 90.7FM, distributed as part of the Wave Farm Dispatch Series, and featured in a series of live listening events. In 2019, Shinkaigyo was introduced by Ars Electronica FORUM WALLIS 2019 as “Highly Commended”. ​    

Chatori Shimizu (b. 1990) is a composer and sound artist, focusing on site-specific music, kinetically enhanced music, and concert music. He often plays with the themes of liberating time and space, often incorporating choreography, programming, mechanical enhancements, and installation design in his creations. He has degrees from Kunitachi College of Music, Columbia University, and Hochschule für Musik Carl Maria von Weber.      

https://www.instagram.com/chabobobobobo/
https://www.youtube.com/@chabobobobobo

3) Jo Kennedy - Holding the Rain

Holding the Rain is a listen to blanket bogs and two experts working to protect and restore them.  We hear both from Tia Crouch - the National Trust's peat ecologist, and Gill Wrigley - Sphagnum Project Officer at Calderdale Council, West Yorkshire.  A lot of our UK blanket bogs are badly degraded (we hear why) but work is going on in our uplands to re-wet them and restore them ecologically.  A healthy blanket bog is not only alive with life but can store vast amounts of carbon, alleviate flood risk, prevent the spread of moorland fire, and help purify drinking water!  Holding the Rain was originally part of an installation with sculptor Sally Barker, shown at the Peat Appreciation Society's exhibition at Gibson Mill, Hardcastle Crags, West Yorkshire in Spring 2026.  It was designed for listening to on headphones, not room speakers.    

Jo Kennedy is a Todmorden – based sound artist who uses field recordings, found sounds, spoken word and music to create immersive audio experiences, whether these be fixed pieces, soundwalks or installations. Her creative practice often engages explicitly with ecological issues, responding to questions about our relationship with the living world. She co-produces Nature Tripping podcast and is also a Director at Yorkshire Sound Women Network (YSWN), a CIC working to address  gender imbalance  across the audio industry.      

http://www.jokennedysound.com

4) Myriam Bessette - Sans alerte      

In my neighborhood, I adopt wandering as a method for capturing and shaping unstable sonic material in real time. I recombine this fragile matter through attentive listening, allowing a form of sonic writing to emerge — shaped by tension, accident, and micro-events. Sans alerte (No Omen) traces the subtle, latent ruptures embedded in everyday experience.    

Holding a bachelor's degree from the School of Visual and Media Arts at UQAM, Myriam Bessette explores drawing and sound sampling, which she transforms and animates using technological tools. Her sound installation works have been presented in Canada and in many European cities, including Istanbul, Leipzig, Ghent, Marseille, Stuttgart, Trieste, Paris, Barcelona, and Brussels. Additionally, her animated works have been showcased at numerous festivals, including Sónar (Barcelona), New Zealand International Film Festival (Auckland), European Media Art Festival (Osnabrück), and Elektra (Montreal). Myriam Bessette lives and works in Montréal.    

http://myriam-bessette.com

“Uncleared Stairs” is a soundscape that incorporates samples of newscasts related to the events of April and May of 1986.  The news reports have had all identifying information and event details audibly removed, blurred or masked by the authorities so that only the framework of the story remains. The scape is divided into seven chapters that are each bracketed with a musical sounder and a message in morse code. The interstitial spaces remaining have been filled in with abstract debris from the explosion.
   
Artist bio:  
Northfield Lenox is a one person computer production music project from Manitoba Canada.  Only virtual instruments are used for original material, which is then combined with samples from media and film archives, radio, and other field & audio recordings.
(Also, occasionally collaborating with other humans.)    

Website/social links   
https://northfield-lenox.com/
https://soundcloud.com/northfield-lenox/albums

It has often been said during this past year of the pandemic that Covid is ‘only the beginning’ and that the much larger crisis ahead of us is climate change. An obvious question to ask then is: What is our relationship to the environment? And is the natural environment interesting enough to us – indeed, do we know enough about it - that we would want to protect and save it from further ravages?

The sound environment has much to tell us - it simply ‘voices’ all activities - and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing.

During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio. Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed.

Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.

Composition and Spoken Voice by Hildegard Westerkamp
Premiere: April 24, 2021, the BEAST FEaST 2021, at the University of Birmingham, UK  

Biography:
Hildegard Westerkamp (*1946 in Osnabrück, Germany) is a sound artist, sound researcher, composer of electroacoustic music, sound ecologist, flutist, pianist, and author. Her works, which have been performed worldwide, chiefly focus on aspects of the acoustic environment. Westerkamp moved to Canada in 1968, studied music at the University of British Columbia and joined the World Soundscape Project at Simon Fraser University to explore soundscapes under the direction of R. Murray Schafer. She later taught courses in acoustic communication at Simon Fraser University and has written extensively on soundscapes, acoustic ecology, and listening. She is a founding member of the World Forum for Acoustic Ecology and lives in Vancouver.

http://www.hildegardwesterkamp.ca

'The wind has stopped. Time has stretched. What do you see? Water. Only water.' 
 
The middle is an abstraction. Here, time holds different meanings for different species. How does a rock experience the slow passage of years? This sound piece was recorded in one continuous take, with all the elements flowing together at once, spontaneously intersecting voices and the many sonic streams, perhaps not unlike the erosional forces that give shape to landforms. Lorelei, the steep slate rock located in the Middle Rhine Valley appears like an ear of stone, picking up reflections carried by storm and wind. A sea-singer, merrow or mélusine, wandering about the shore. Not only a place, but a presence rising above the many bodies of water, contained both around and within us. For at the smallest scale of reality, time vanishes; there is no difference between past and future.
    
Artist bio:  
Diana Duta is a Brussels-based artist working with sound in hypnotic ways, with a background in art and socio-cultural linguistics. She investigates inhabiting different subjectivities beyond brain-created narrative fictions. How can sound ecology reconfigure identity—who we are relationally? Guided by biosemiotics, cognitive science, poetry and embodied voice practices, her work finds common ground with other sentient life forms around us. She makes works for radio, installations and experimental music as DIAN and is half of t.r.a.n.c.e. community hypnosis project. In 2019, she founded Jambes, a recording studio commissioning new work by artists experimenting with sound and voice.    

Website/social links  
https://dianaduta.com/
https://jaaambes.be/
https://tr4nc3.com/
https://www.instagram.com/dianaduta_/

1 Lautaro Nuñez Müller - Humedad Centrípeta (5:33)    
2 Józio - I have made a consensus on the radio (9:03)    
3 Alessia Damiani – Evaporation (9:07)      
4 Anna Stereopoulou – Akroproron  (2:54)    
5 Jung HUO - Hot water (5:15)

1) Lautaro Nuñez Müller - Humedad Centrípeta    

"Humedad Centrípeta" is a series of four sound pieces that emerged from revisiting, reworking, reciting, and surrounding with sounds four poems written by the artist a few years ago: suicidal buildings; natural disasters arriving in a place that always seemed foreign, distant, deaf to them; a humidity that sticks to brains; wise armpits that resist with the gesture of protection. Will things escape first, or will we? The pigeons, the buildings, or the esoteric teenagers who contact the sun?    

Lautaro Nuñez Müller a.k.a Lata (Temperley, Argentina) is an artist who works with sound using an approach closely linked to the technique of sound collage. He holds a degree in Multimedia Arts from the National University of the Arts. His latest works are the exhibition "Geología de una nube", the mixtapes Omega I, II, and III, and the album Corso Hipno, released by the Buenos Aires-based label Isla Visión. Since 2024, he has published the zine "El Susurrerío" in which he interviews diverse Argentine artists whose work incorporates sound.      

https://lata.bandcamp.com/ - https://www.instagram.com/latanun

2) Józio - I have made a consensus on the radio

The foundation of "Consensus etc." is a collage of miscellaneous field recordings and shortwave radio snippets gathered throughout my travels when I was meeting friends in places that are old but seem new and there's something very scary about that. In the composition process, originally for Warsaw's first 8-channel speaker system, I added numerous layers of prepared guitar, circuit-bent electronics, and no-input mixer, tuned to match chosen resonances within the original recordings. These instruments together form the buzzing drone heard in the second part of the piece. Layers of electric guitar ultimately come together in a spectral harmony which is slightly higher than the ambient one at the start (50Hz)—some distance seems to have been conquered and a consensus has been reached.    

Józio Urbański is an emerging musician and sound artist whose work has taken the form of performance, installation, and
composition. He holds a deep curiosity for the locality of sound and our varied experience of time within it, which has led him to explore areas such as
free improvisation, deep listening, synthesis, feedback, tape loops, drones, coding, transducers, just intonation, spectralism, radio, electroacoustics, and field recordings—using the latter as both research and as cut-up material. His most recent projects seek, in different ways, to extract harmony from improbable sound sources within his local environment.    

joziourbanski.com/portfolio.pdf

3) Alessia Damiani – Evaporation    

The piece explores evaporation as a metaphor for inner human transformation: a slow, almost invisible process in which what once felt solid gradually shifts into another state. Meditation functions as the driving force behind this transition, creating a space of deep listening and suspension where change can occur. Through meditative attention, the self begins to loosen its boundaries, mirroring water as it lightens and disperses into air. Sound traces this journey, moving from dense, grounded textures toward fragmentation and openness. Evaporation becomes an intimate act of release and renewal, revealing transformation not as rupture, but as a quiet, continuous unfolding of awareness.    

Alessia Damiani is a composer, performer, and multimedia artist active internationally in Italy, the UK, the USA, Mexico, Spain, and Germany. Her works have been presented at festivals including the New York City Electroacoustic Music Festival (NYCEMF), MUSLAB International Electroacoustic Music Exhibition (Mexico), and Mediagrammi (Berlin). Her M-Flute A/V Performance was selected for several European festivals. In 2019, she created sound design for an interactive exhibition by photographer Riccardo Truffarelli. She has taught sound design, electroacoustic composition, and musical computing at major Italian academies and conservatories. Her solo practice explores repetition, the aesthetics of error, and extemporary sound.The piece explores    

http://www.alessiadamiani.it

4) Anna Stereopoulou – Akroproron  

Akroproron narrates the beginning of the sailing and the conditions onboard, as well as a calling coming from the ship's Figurehead (Greek: 'Akroproron'), where an imaginary battle is given between the Sea and other elements. It consists of Field Recordings, analogue Synthesizer and Voice, spreading "sals" on a manic unification of "ἅλς–háls–als–sal", with a sound-onomato-poetic license.
The work is part of ALS music album (Anna Stereopoulou, 2026) and the same-titled sound installation (work-in-progress), a study on the sound of-at-around the Sea and Salt (Live Premiere: Scientific Conference "Salt Flats and Cultural Tourism: Municipalities of 'Sacred Town of Messolonghi' & Lesvos island", University of West Attica, 2023). It is getting developed through the recording and expression of the cultural value of the eco-system and surrounding space of the salt-flats and wetlands, commenting on the Acoustic Ecology and Psychogeography of each location, through time.    

Composer, pianist and researcher Anna Stereopoulou specialises in the Music Composition for Film & TV. She has presented her art worldwide, in Cultural centres and Archaeological-sites, and has worked as an Advisor-Programmer in Music & Film Festivals, as part of her activity in Culture, Education, Journalism and Tourism, and her Interdisciplinary Research.    

https://annastereoscopic.wordpress.com/
https://annastereo.bandcamp.com/
https://www.youtube.com/user/annastereo
https://www.facebook.com/AnnaStereopoulou
https://www.instagram.com/annastereoscopic/

5) Jung HUO - Hot water

Here is an amusing story about my stay at a friend’s place, where there was no hot water for the shower. My friend suggested that I heat water with a kettle.

One day, due to the unsanitary condition of the apartment, it was announced that the entire building would be evacuated the following day. Moving constantly, staying at other people’s places… It was only when I burned myself with the hot water that I realized how absurd all of this was.
    
Jung HUO (born in Hsinchu, Taiwan, 1997) is a Taiwanese artist currently based in Paris. Her work encompasses installation, sound, video, and performance. She focuses on daily and ritual gestures and actions, extracting small moments of discomfort and transforming them into a dislocation of tangible objects, capturing the poetic elements within their political significance.
     
http://www.junghuo.com
instagram : jung.huo

1 Kathryn Wardlaw - Feeling at Home (4:33)  
2 ifuseekamy - Posthuman Desire (3:44)    
3 The Given Ghost – Rings  (4:38)    
4 Craig Stewart Johnson - An Attempt at Documenting Exteriors  (12:26)    
5 Landon Caldwell - Memory Flows (1:54)    

1) Kathryn Wardlaw - Feeling at Home    

This composition aims to push the recognisable sounds of life to a place where they are no longer recognisable. Focusing on the kitchen, which I feel is the heart of a home, I captured the sounds of action and life. Everyone can recognise the human voice or a kettle boiling, so my goal in this composition was to create an environment where the listener must question the sounds they are experiencing.  I wanted the beginning of my composition to be confusing and to gradually clear up until the sounds become understandable and familiar. Having the human voice and laughter included in this composition was important to me as I believe these things are what make a place sound, and feel like home.    

Kathryn Wardlaw is an Edinburgh based Scottish sound artist and musician. In her work she captures the mundane and recognisable sounds of life and locations and aims to transform them. Her work consists of soundscapes, trying to capture the feeling of day-to-day life in varying locations, and acousmatic compositions that change the familiar into the strange.    

https://www.instagram.com/kathrynwardlaw_?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==
http://www.youtube.com/@kathrynwardlaw

2) ifuseekamy - Posthuman Desire
     
Posthuman Desire brings earthly, soily, confusing desires to the forefront. In order to reconsider our relationships with the world around us we need to break free from our cagey, limiting, human-bodies. Inspired by Alison Sperling's "Weird Embodiment" (2020), Posthuman Desire calls us to dissolve our bodily boundaries and restrictive ways of thinking, leaving heterosexual and human-centric relationships behind in favour of alternative relationship dynamics and intimacies. It is a non-hierarchical, messy, muddy, swampy exchange which questions "western notions of the self and of subject-hood" (Sperling, 2020).      

ifuseekamy (b. 1999) is a transdisciplinary artist enchanted by that which lies below; looking to the earth for soily solutions. The foundations of their practice begin with radical empathy, as they are unafraid to question, poke and prod limiting beliefs inherited by various institutional structures. ifuseekamy’s work has been shown at: The Horse Hospital, Safehouse, Electro studios, Bauhaus Universitat Weimar, University of Mississippi and UCA Farnham.      

https://ifuseekamy-portfolio.tumblr.com/
https://www.instagram.com/_ifuseekamy__/

3) The Given Ghost – Rings    
 
"Rings" is the 6th track from the album "Fluid Noumena". It is a sonic exploration of an inner image: Being, whether general or particular, can be seen as a series of concentric circles; they are shaped like ripples or, perhaps, the links of a golden chain. In a sense, these circles overlap, inter-penetrate one another, and radiate from centers of Being, which is everything seen and unseen.

In an environmental sense, these rings are the links between all things, all beings, all forces, which are unified into a "field" of Being.
From this, it is my sincerest hope as the artist that my attempt to capture this impression (albeit abstract) can be intuited also by the listener.    
The Given Ghost is an ambient, experimental, and hauntological project of Kansas City-based composer, sound artist, and multi-instrumentalist, M.A. Weidman. The project attempts to convey notions of metaphysics, memory, and phenomenology through the use of sampling, synthesizers, and field recordings      

https://thegivenghost.bandcamp.com/album/fluid-noumena
https://www.instagram.com/the_given_ghost_music?igsh=MXNsemg5MWl4cmY1bw==

4) Craig Stewart Johnson - An Attempt at Documenting Exteriors    

In an homage to Georges Perec’s An Attempt at Exhausting a Place in Paris and Annie Erneaux’s Exteriors, this short sound piece documents the mundane sounds of the everyday.
Using limited means – iPhone voice notes, pocket recorder, Dictaphone – this work materialises in periods of movement and stasis - travelling, waiting, traversing, reflecting. The sounds are embodied with my pre-occupation with the notion of the ‘in-between’, captured neither in the spaces of leisure or the spaces of work, but during those moments that occur in between these binaries. The fragments of sound assembled here have been recorded over the past three years while working on my PhD, a process which further blurred the distinction between my work and leisure time.

Recorded in various space and places across England, Scotland, Italy and Portugal on trains, in cars, while sitting, walking and staying still.
     
Craig Stewart Johnson is an interdisciplinary researcher and artist whose work revolves around an interest in DIY modes of cultural production.

Artistic practice spans recording and performance, alongside collage, print and installation – all of which revolve around an interest in the aesthetics and infrastructures of DIY culture and are rooted in a desire to create a space for improvisation, experimentation and collaboration. Craig recently completed his PhD titled The No-Audience Underground: Navigating Degrees of Autonomy in a DIY, Experimental Music Scene.
     
https://craigstewartjohnson.com

5) Landon Caldwell - Memory Flows    

Memory Flows is a study of memory, mythology, and regional identity through sound and words.    

Landon Caldwell is a multi-disciplinary artist and composer in Indianapolis. His work is primarily centered on sound experiences, exploring multi-channel installation, film & video, writing, improvisation, radio art, and more in a practice focused on themes of environment, family, and class. His work uses any tool at hand to explore the modern midwest psyche.    

http://www.landoncaldwell.com
landoncaldwell.bandcamp.com
IG: landonscaldwell

The Giant Tank Institute For Low-Brow Avant-Thought’s resident organiser/improviser Ali Robertson is probably best known for courting public shame in the duo Usurper, with Malcy Duff, but now most frequently exercises his unfunny bone as one half of 'Off Brand, with Firas Khnaissr, and as one third of Black Affrontit, with Karen Constance & Dylan Nyoukis, while sporadically pleading for redemption via the altogether more wholesome Sonic Bothy Ensemble.
 
In this semi-improvised in-studio performance, concerning long and short-term memory, disembodied voices, and the history of ventriloquism, Robertson will ponder his own personal experiences as a partially deaf artist living with ADHD and PTSD, and the ongoing, and frequently infuriating, experience of attempting to care for an ailing relative remotely. Serious themes, but delivered with humour and musicality of sorts.
 
https://gianttankeh.tumblr.com
https://gianttank.bandcamp.com
https://duffandrobertson.bandcamp.com

1) Kassel Jaeger aka François J. Bonnet - Dissipation of Light (6:56)
2) Masimba Hwati - Porcupine Quill dream (6:04)
 
1) Kassel Jaeger aka François J. Bonnet - Dissipation of Light
 
From the album 'Shifted in Dreams'
 
2) Masimba Hwati - Porcupine Quill dream
 
Porcupine Quill Dream is a track from Hwati Collino, an album by Masimba Hwati and Michael Collino, recorded in Warren, Michigan, during the COVID-19 pandemic in 2020 and later released by Alien Passengers.

The album grew from a simple idea: what if dreams could become music? Instead of telling their dreams as stories, Hwati and Collino treated them as sound. They recorded, cut apart, and reassembled dream fragments using the cut-up technique, letting chance reveal unexpected rhythms, textures, and meanings.

This particular track is inspired by Masimba Hwati's dream of a porcupine quill from his childhood home. Moving between memory and imagination, Porcupine Quill Dream invites listeners into a space where dreams are not explained, but heard.

Composition with international call centre voices.

Being stuck on hold, waiting to eventually speak with a representative, is an experience everyone knows—yet no one shares. You press your ear against the receiver and keep your mouth shut so as not to miss that crucial moment. We all hear and say the exact same things—much like at a concert, yet in total isolation. It’s time, to give it a public space. Antje Vowinckel has listened to many recorded messages before she was finally connected.

The research for the project was kindly supported by Musikfonds, Germany. A Radiophrenia commission produced with the support of Creative Scotland.

Vocal sounds: Antje Vowinckel, wind ensemble: “trigger” (Chris Heenan (ccl), Matthias Müller (tb), Nils Ostendorf (tp).
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:

Antje Vowinckel is a Berlin based  composer, adio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as  Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at  concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin.  

For her compositions with sound bites she developed the methodes of Automatic Speaking and  Dialect-Karaoke.  Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece  Call me Yesterday was broadcast and presented in 18 countries. 

Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize.

https://antjevowinckel.de/en

1. Grief-wild
2. By a whisker
3. On the dead bones

Grief-wild    

In the week before a momentous war’s anniversary, a picture starkly intrudes. Narratives make us understand; photos haunt us. The repeated song is repurposed in an attempt to ground all that is thrust at us. It’s a mantra of hope in a world gone wild.

Writing, vocals, composition: Joan Schuman
First commissioned for the Electroacoustical Poetical Society, 2024.  

By a whisker    

According to C.G. Jung, dreams of car crashes warn us that we need to get better control of a situation.

Beginning just after Trump’s election, figures causing near crashes began appearing with greater frequency in my dreamscape. While this could reflect an inner turmoil, it could also signal an accumulated collective unconsciousness around the egregious collapse of rules in the U.S.

These dreams of near-misses scream and whisper. It has felt like a kind of bardo, akin to the dreamworld in its liminal state.  Like death, we know it will happen. And we want to honor its transit.

Writing, vocals, composition: Joan Schuman.
First commissioned for the Electroacoustical Poetical Society, 2025.  

On the dead bones    

Synopsis of piece:  History is not a mound of discrete moments of upheaval—the sudden upthrust of the ground we’re standing on, the catastrophe.

History is often simply detritus: A stash of letters, a collection of war-time incidences, what’s left after the fires burn.

History is liminal: it spirals into our present. In our current burning, imploding world, we converge our stories, unfolding quickly or gradually, sometimes unvoiced. A witness.

A languid history is indolent, lethargic, fatigue-laden.

Writing, vocals, composition: Joan Schuman.
First commissioned for the Electroacoustical Poetical Society, 2025.
    
Artist bio:  
I make radio art; organize and present other sound artists on various platforms; mentor radio art archivists; and teach online (sound culture and production courses through The New School). I am mesmerized by sounds along the California West Coast, where I live and return to from other geographies.    

Website/social links  https://www.joanschuman.com/hyperacousia/

The work consists of a collage of field recordings of walking, sinking and clanging, snippets of voice notes, text turned into sound and instruments.

It explores the idea of walking and not finding a bog and otherwise walking and finding too much bog. The changes in the landscape, environment, flora and fauna that we are removed from until we try to seek it out. It explores the idea of preservation and submission to something bigger than us and something which we cannot change.

it is also fragmented, sometimes sinister, silly, lighthearted and deeply serious.    

Artist bios:  
 
Hanny is a primarily visual artist who is interested in moss, lichens, experimental archaeology, patterns and repetition of organic forms. she does not really know how sound works but she likes to play.

Andy is a DJ, radio enthusiast and musician who first had headphones put over his ears around the age of two and has never stopped listening to everything and everyone since then.
     
Website/social links   
https://www.instagram.com/puredafty
https://www.instagram.com/ultimatejunk

I am an immigrant.  My mother was an immigrant.

Throughout human history, migration has been a defining and constant force. From the earliest ancestors who ventured out of Africa to modern immigrants crossing borders today, humans have always been on the move. These journeys were driven by many motivations: the search for food and resources, the desire to explore unknown lands, the need to escape conflict or persecution, and sometimes simply the curiosity to experience something new.

This instinct to move, adapt, and seek opportunity is deeply ingrained in human nature. By examining immigrants and our ancestors together, we can better understand how movement has shaped cultures, societies, and identities across generations and how migration continues to influence the world we live in today.

This experimental abstract soundscape is made for radio using only voices of immigrants - both from the past and the present.  
    
Artist bio:  
Jimmy Peggie is a Scottish-Estonian sound and multimedia artist based in Phoenix, Arizona. His artistic work is focused on natural and urban phenomena with an appreciation that all things are in a state of flux - ever changing, imperfect and incomplete - using this to help identify a sense of our place within the transient nature of all things. His sound art work has been included at many art spaces and events internationally. He currently composes hour long, monthly, sound art radio shows in France, Poland and South America.    

Website/social links  
http://jimmypeggie.com
https://www.instagram.com/avantologist/

Broadcast: March 5th, 1998, Kunstradio
 
A radio mix featuring acoustic elements from Bill Fontana’s two-part sound sculpture “Acoustic Tomography in the Wien River,” which was presented at the RadioKulturhaus in Vienna in December 1997 as part of the KUNSTRADIO project “Recycling the Future IV” to mark KUNSTRADIO’s tenth anniversary.

According to the artist, a memory of the now-famous crime thriller “The Third Man” played a certain role in the concept for this sound sculpture: for the sculpture was—and ultimately remains—a magnificent instrument for exploring and probing the acoustic space of Vienna’s underground canal system.

Microphones placed at carefully selected locations captured the sound of flowing water as well as the resonance of the vast space. In addition, Fontana installed a kind of sound machine that projected tones into the space at regular intervals to generate echoes.
Microphones installed at various points along the tunnel recorded the acoustic delays resulting from the echoes.

These sounds were broadcast live to the RadioKulturhaus, where they could be heard at various locations (the main entrance and in Studio 2).

The acoustics of the canal system’s spatial branches, as well as the echo-triggering “sound explosions,” unfold their eerie yet cozy effect not only on site but also in the radio studio.

https://www.kunstradio.at/1998A/5_3_98.html

The word “pneumatics” is defined as (1) containing or operated by air under pressure; moved or played by means of air; (2) of or relating to the spirit, or souls; and (3) carrying air (the cavities in the bones of birds).

In radio propagation, the “grey line” is the shifting atmospheric boundary or twilight zone between day and night within which radio waves’ transit between a transmitter and receiver is very efficient and offers superior long-distance communication.

This work is comprised of a text composition scored for radio, grey line and field recordings, and long-distance listening. The work explores poetics of radio space, grief and relationships with the unknown, and a doubled space of absence.

Artist bio: 
CAROLINE PREZIOSI is an artist, poet, and researcher. Her practice intersects language, sound, ecology, photography, and radio space. She holds a BA in writing from Johns Hopkins University, and an MFA from School of the Art Institute of Chicago. Her writing can be found in Poet Lore, Little Mirror,  BRUISER, Denver Quarterly, Windfall Room, Earlid, Resonance: A Journal of Sound and Culture, and elsewhere. She co-edits the journal NAVIGATIONS. She works in radio with Wave Farm / WGXC 90.7-FM.  

Website/social links  
https://www.carolinepreziosi.com/
https://www.instagram.com/caroline.preziosi/
https://wavefarm.org/wf/archive/d89aw6

This piece is made with field recordings in one of the most incredible places I have ever visited and listen to. The province of Guizhou in southern China, in its beautiful rural villages, where various ancient dialects are spoken, such as KAM, which can be heard in the recordings. These are places that change your life because they remind you of the love for the land and the harmony between humans and nature.
In the recordings, you can hear the toads and frogs in the rice fields, the cicadas, all singing at tremendous volume in the vastness of those mountain valleys, the weavers at their beautiful traditional looms, villagers singing together, parties, laughter... For me, this is perhaps the most unique place I have ever been listening to and field recording.      

Artist bio:  
Julio César Palacio is an Venezuelan-born, Barcelona-based artist, researcher, educator, and composer. His sonic practice focuses on the study of acoustic phenomena, listening as a community practice, the relationship of sound in identity and collective memory, oral history, noise pollution and the impact of human beings on nature, the study of bio-acoustics and the analysis of sound DATA as a material for awareness and conservation of the environment and his soundscape, understood in the context of today's climate crisis and instability.    

Website/social links   
https://suncolor.info/
https://www.instagram.com/juliocesarpalacio/

1 Ángela Hoyos Gómez - Conjunction podcast (7:22)  
2 Dorota Blaszczak - Echoic Memory: Waiting to Be Heard #1 (5:00)  
3 Adam Mirza + Akiva Zamcheck – StudioNYC (6:58)  
4 Boyi Bai - Take Me Back to Indonesia (7:27)

1) Ángela Hoyos Gómez - Conjunction podcast

Sound poetry can be inspired by outer space phenomena and permeated by its times, scales, and mysterious dynamics. In this radiophonic piece, distant planetary winds carry along animal calls, science fiction readings and vocal improvisations. Blending the experience of having followed the Great Conjunction of 2020 from the countryside, using an amateur telescope, with inspiring passages from Arthur Simack’s short story Desertion (1944), 'Conjunction podcast' sets a retro-futuristic immersion into imaginable multilingual and trans-species transmissions.

Composition and hostess voice: Ángela Hoyos Gómez

Vocal improvisers and readers: Maria Sappho, Isabella Ruiz Gallardo and Leah Stuttard

Voice processor programming: Juan Hernández

Multi-channel version: Ángela Hoyos Gómez and Juan Hernández    

Ángela Hoyos Gómez plays together with Juan Hernández in the duo project Ulrica Duo, experimenting and improvising with sound – to movement – to color synesthesia, and creating scenes in which the morphing presence of the performers sketches cosmic tales. Their sound art projects Stamina Quimera, Aliento Cuerpo Selenio, Señorita Etc…, Miniperformance, and Tambambient have been presented in theatres and galleries in Bogotá (Colombia), Gothenburg and Stockholm (Sweden), Bergen (Norway) and Huddersfield (England).
CV - Arts Research:
2009 Master of Arts with specialisation in digital media, University of Gothenburg, Sweden
2024 PhD in Music Composition, University of Huddersfield, UK    

https://ulricaweb.net/

Instagram: @ulricaduo

2) Dorota Blaszczak - Echoic Memory: Waiting to Be Heard #1

A few seconds of sound act as a buffer for our auditory sensory memory - echoic memory. Such short periods of time create a loop of context essential to our perception. This sound composition is based on a field recording (from November 5, 2025) and a real sequences of burning branches. Rhythms and relationships emerge as older sounds fade and new ones appear.    

Dorota Blaszczak works in radio archives and at Music University in Warsaw. She teaches interactive sound, works with sound preservation, creates audio works and interactive projects, some based on long-term ecoacoustic observations. She has designed sound for VR and early computer games.    

dorotablaszczak.pl

3) Adam Mirza + Akiva Zamcheck – StudioNYC    

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).
We are submitting the title track "StudioNYC" from our upcoming album for broadcast. We regularly perform as a live duo, including multiple online/remote performances, and we would be excited to be considered for live performance as well -- either in person (schedule/finances dependent) or online/remote.      

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.      

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/

4) Boyi Bai - Take Me Back to Indonesia
 
This work grows from a field recording made in Madobag Village on the Mentawai Islands. More than documentation, the recording acts as a sonic memory that transports me back to a moment of calm, sparking reflections on the contrast between the serenity of travel and the pressures of daily life. The piece explores the tension between two acoustic worlds. It begins by extending the gentle atmosphere of the island through soft drones and drifting textures, creating a liminal, dreamlike space shaped by memory and inner perception. This fragile soundscape is abruptly fractured by cold phone alarms and everyday noise, marking the collapse of the imagined space and exposing the conflict between longing and reality. As fragments of the recording reappear and merge with present-day sounds, the listener is suspended between wakefulness and recollection. The narrative remains open, shifting between memory, desire, and the unresolved pull of return.    
 
Boyi Bai is a composer and sound artist whose works explore the intersections of soundscape composition, field recording, and VR immersive audio. His pieces have been showcased at various international festivals and events, including Sound/Image (London), MANTRA (Ecuador), PAYSAGES | COMPOSÉS festival (France), Sonic Nomads (Seoul), Rádio SOMA (Brazil), MA/IN Festival (Rome), BBC Radio 6, Radiophrenia (Glasgow), Radio Suyai TV (Chile), Sonic Arts Forum (Maynooth), Sound Junction (Sheffield), and San Francisco Tape Music Festival. Through a blend of environmental sound and electroacoustic techniques, Boyi’s work aims to create immersive listening experiences that challenge perceptions of space, memory, and auditory storytelling.    
 
https://soundcloud.com/zion-bai
https://www.instagram.com/zion.peisi/

1 Emilio Casaburi - Pumma  (10:04)    
2 Georgina Canifru - I'm sorry (1:00)  
3 Parallax Diurna - Fragments of Post Convulsive Excitement (8:19)
4 Cheyenne Hendrickson - body organ (7:20)    
5 Big Foam – Aviemore (3:54)

1) Emilio Casaburi - Pumma  
   
The past is no longer forbidden: through technology, lost relationships and forgotten spaces can be revisited. ‘Pumma’ seeks to narrativize this experience, drawing on old VHS recordings of my family as its sonic foundation. The piece unfolds a journey across space and time, in search of renewed connections with lost ones. It blends acousmatic syntax, sonic imagery and textual fragments: an attempt to harness the full potential of the acousmatic listening condition to project a narrative of memory, distance, and re-discovery.     

Emilio Casaburi (b. 1999) is a sound artist and composer from Italy. His artistic output includes acousmatic compositions, field recordings, audiovisual works, and installations. He graduated in Electronic Music under the guideship of Alessandro Cipriani in Frosinone and is now studying at the Institute of Sonology in Den Haag. His works have been selected for numerous festivals worldwide, including: Best Sound prize at the URTIcanti Film Festival in Bari (Italy), screening at the Sound and Image Festival in Greenwich (England), the Anamòrphosis International Film Festival in Lecce (Italy), the Daegu International Computer Music Festival in South Korea, and the NYCEMF    
https://www.instagram.com/emilio_casaburi?igsh=MWJ0dmZzdnlhMHMzeA%3D%3D&utm_source=qr

2) Georgina Canifru - I'm sorry    
 
Miniatura compuesta en contexto de residencia en el Taller Experimental de Música para alumn*s de composición en la Universidad Nacional de Córdoba, Argentina impartido por el músico y profesor Gonzalo Biffarella. La pieza sonora fue seleccionada en la convocatoria "LA LLAMADA" para formar parte de la muestra de Miniaturas Sonoras del Festival de arte sonoro y Música visual Bahía in sonora y en el Museo Ferrowhite de Argentina, 2017.    
 
Artista visual autodidacta que desde 2012 ha participado en festivales y exposiciones de artes visuales, arte sonoro, radio arte, y especialmente performance en que incorpora sus propias composiciones sonoras. Indaga desde 2023 en la figura del esgrimista por medio de dibujo y performance sonora.
Publica Vacío Animal [Poesía] en 2009. Fue becaria del Taller de Creación Poética de la Fundación Pablo Neruda.
 
https://georginacanifru.wixsite.com/sitioprovisorio
     
3) Parallax Diurna - Fragments of Post Convulsive Excitement

This piece, constructed specifically for this event, is a unique work based on fragments of a long running mixed media work titled:
Post Convulsive Excitement - of which, the audio manifestation is assembled from magnetic tape.
     
1. Parallax Diurna owns nothing, including identity. Parallax Diurna doesn't exist, and is merely a strange energy which passes through everything and never repeats itself.
2.A transitory human form, a creative energy which has the potential to express and exist through, and in, any medium.
3.An entity that materializes when there is an opportunity to force the limits of paradoxical situations.    

https://www.instagram.com/wavereflector/

4) Cheyenne Hendrickson - body organ

Body Organ is a recording of my body interacting with feedback in my art studio. Two Geofóns are attached to the floor, recording the faint vibrations as I stand between them and shift my weight from foot to foot. As pressure transfers through my body into the ground, the room responds with deep resonance. A feedback loop forms between my body and the space, turning the studio into a collective instrument.
Small movements produce changes in tone and volume. When I push my foot down, the sound intensifies, revealing how weight itself generates frequency. The work explores how I perceive my body in space and how space, in turn, perceives me. It asks whether resonance and subsonic vibration are forms of communication between body and environment. How do we know the body through the sonic soundscape? Does the environment know us as sonic feedback? What is the dialogue between?    

Cheyenne Hendrickson is a multisensory artist whose work explores the human body from the inside out, focusing on the unseen, visceral realms of our internal world. Through sound, sculpture, and installation, she creates immersive experiences that give presence to the hidden bodily processes. Hendrickson’s practice examines how the body embodies histories, futures, and vulnerability, fostering empathetic engagement with these complex internal landscapes. She holds a BA from The Evergreen State College and a Master of Fine Arts from Georgia State University. Her work has been exhibited internationally and has completed residencies at Sound Art Lab (DK), SÍM (IS), CAMP (FR).    

https://cheyennehendrickson.com/
https://www.instagram.com/cheye_nnehendrickson/

5) Big Foam – Aviemore    

Aviemore is a piece which combines field recordings from the Cairngorms with musical sketches from the surrounding time period. Recorded on a cold weekend in February, the sounds of breaking ice and skipping stones are intermixed with steps, road sounds, and chatting. The musical sketches originate from improvisations on the piano and pump organ.
     
Big Foam combines musical sketches and field recordings to produce intimate soundscapes. The works are collaborative in nature and focus heavily on a sense of place. Inspiration is found in the the works of artists such as Hildegard Westerkamp a and the lo-fi efforts of songwriters such as Lou Barlow and Daniel Johnston. Previous works include 'From my phone to yours' and 'Big Foam'. These efforts are often improvisatory, often recorded in the presence of friends and loved ones.

Big Foam is releasing a new full length album in 2026.    

https://www.instagram.com/big._foam/
https://bigfoam.bandcamp.com/album/big-foam

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

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

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

Nightwalker is set within a fictional city, made of aspects of many real cities, and follows a woman on a night walk. The text and the sound were written/composed at the same time, informing each other to create this sonic journey. Whilst making Nightwalker Hannah spent time in Bristol, Newcastle and Gateshead, Barcelona, Marseille and Edinburgh, and spoke with women about walking at night in Stoke-on-Trent. Nightwalker was developed whilst exploring new ideas for art work about women at night, seeking new narratives that bring out the beautiful qualities of nighttime and women’s lives at night. Nightwalker lives within a body of work aiming to foster a positive relationship to darkness, and generate alternative narratives for women at night. The piece includes solitude, relationship to the built world, nocturnal animals, transformation, fantasy, memory, sound, freedom, the body, altered physical states/experience, darkness, agency and returning home.    

Artist bio:  
Hannah is a interdisciplinary artist based in Bristol, working with writing, audio, performance, theatre, dance, singing and collaboration. She has made solo theatre shows, collaborative, participatory and site specific performances, workshops, audio pieces and two short story collections, one of which 'Pit Murk, is published by Conway and Young Small Press. Her work is tender, inquisitive and aims to create space to redefine. Her work has been presented nationally and internationally. She has a MA in Performance Research, BA in Theatre with Visual Practices from Dartington College of Arts, and is a member of Bristol based arts collective; Interval.    

Website/social links   
http://www.hannahsullivan.co.uk
insta: @hannsullivaan