Sun 6

Laura Splan’s “Cryptic Lineages” explores emerging artificial intelligence that leverages organic systems to perform machine learning tasks. The work features a poetic narration read using an AI-generated clone of Splan’s voice that is accompanied by a soundscape created with reservoir computing and muscle movement data. Using “physical reservoir computing” as a conceptual scaffold, the narration delves into the use of liquid, microbes, plants, and human bodies to perform computational processes. Drawing upon real experiments using water, bacteria, strawberries, and living tissue, “Cryptic Lineages” problematizes the increasingly porous boundaries between the computational and the biological. The scripted narration interrogates the instrumentalization of bodies and how notions of the "natural" and the "individual" are shaped by the technological. Science and fiction are hauntingly interwoven through speculations on a future generated by the “ambient labor” of bodies.       Artist bio:  Laura Splan is a New York City based artist working at the intersections of Science, Technology, and Culture. Her internationally recognized work has been presented at the Museum of Modern Art (NYC), Brooklyn Museum (NYC), Musea Brugge (Bruges), Santa Mònica Art Centre (Barcelona), and The Nobel Prize Museum at Liljevalchs (Stockholm). Commissions include projects for Museum of the Moving Image, Vanderbilt Planetarium, Beall Center for Art+Technology, and Bruges Triennial. Her research has been supported by the Simons Foundation, Jerome Foundation, Creative Australia, and NEW INC at the New Museum. Awards include Wave Farm’s Media Arts Grant and AS220’s NEA Fellowship.     https://www.laurasplan.com https://www.instagram.com/laurasplan/ https://soundcloud.com/user-376853047 https://vimeo.com/laurasplan

All kinds of sound sources, dreams, and thoughts mingling. Recorded in the Zuilingstraat.       Artist bios:  Hessel Veldman (1956) is a musician, composer and radio- and music-producer. An early fascination with electronic audio devices from the beginning of the 1970s, in combination with a preference for writing and performing extremely idiosyncratic music, has created a wide range of experimental music and radio productions.    Leonie Roessler is a composer, performer, and radio maker based in The Hague.    Together they are Het perfecte stel.         Insta: hessel_veldman Insta: ljroessler Facebook: Leonie Roessler

This hour-long radio artwork unfolds from shortwave recordings, captured and split into stems before being dub-mixed with delay and reverb. Drawing on hauntological ideas — where past signals linger like ghosts on the airwaves — it listens for the spectral traces in transmission and memory. As analog crackle and distant carriers bleed into processed space, the piece invites us to tune not just frequencies but time itself. A meditation on absence and presence broadcast on Radiophrenia’s FM and online dial.     Artist bio:  Andrew Backhouse is an artist who explores themes of memory and absence. His work reflects the idea that the past is never fully gone and that even events which never happened still shape our present. Rather than telling straightforward stories, Andrew uses fragments of sound, images, and text that don’t fit neatly into one narrative. Andrew doesn’t simply use found and recorded materials to document reality. Instead, he sees them as elements to reshape, layer, and present in new ways to listen and see. His work avoids clear, literal interpretations, instead creating a sense of faded memories.       https://backhouse.wtf https://www.instagram.com/backhouse_wtf/

The Bird Sings with its Numbers is an automated live radio performance conducted by a numbers station. A numbers station is a type of radio station historically almost exclusively used by states and militaries. They usually transmit endless series of numbers read out by speech synthesizers for reasons that are likely to remain unknown forever. "The Bird" takes the medium of numbers stations as a starting point for a sonic exploration of the institutional politics of technology. It broadcasts an audio stream consisting of real coded messages that listeners are invited to crack, giving the work an interactive dimension that toys with the irresistible draw of an uncanny and mysterious infrastructure.    

Artist bio: 
Nestor Hiebl is an artist and critical engineer whose work applies semiotic techniques to provide a coherent analysis of the power relations underlying
contemporary socioeconomic developments, especially in the domain of human corporeality and temporality. Their practice makes a point of rejecting any reification of normative ideology and the technological complexes it is enmeshed in, rather suggesting a clarification of the social and cultural logic such systems aim to reproduce and perpetuate. They live in Vienna, where they currently study at the Academy of Fine Arts and work as an embedded software engineer.    

Website/social links  https://nestorhiebl.com/

Qasem Waleed is a 28-year-old physicist who has lived in Gaza his whole life. Since the beginning of the genocide in Gaza, Qasem has been writing about the chaos and violence of Israel’s military bombardments and how they devastate his and his family's lives. In Doppler Effect, Qasem has tried to find a way to describe Gaza, the reality in which he has been living in, through the lens of science, specifically through quantum mechanics. "As a physicist, my favourite question was - are we alone in the universe? Since the genocide, I must however now reflect on a much smaller scope, are we alone on Earth?"

https://www.instagram.com/waleedq18/ 

 
music by Silvia Cignoli
  
https://www.instagram.com/silvia_cignoli/ 

Directed and edited by Alan Alpenfelt
 
https://www.instagram.com/alan_alpenfelt/ 

produced by Vanni Bianconi / Tornasole 
https://www.instagram.com/vanni_bianconi/
     
Artist bios:  
 
Qasem Waleed is a Palestinian physicist and writer based in Gaza. He writes for Al Jazeera, Electronic Intifada, Mondoweiss.
 
Silvia Cignoli is an experimental musician, sound artist, composer for classical and electric guitarist.

Alan Alpenfelt works in theatre and for community radios, specilizing in dramaturgy, directing and education.
 
Vanni Bianconi is a poet and writer and directs various cultural activities such as the online magazine for translation Specimen, Babel Translation festival (2005-2025)    

Website/social links  
https://www.instagram.com/waleedq18/
https://www.silviacignoli.com/

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/

Misophonics #1 is the first in a series of works which utilise recordings of unwanted, unpleasant, or distressing sounds (in this case a screeching seagull) and are transformed into ambient compositions.  The project is inspired by my experience of misophonia (a disorder in which certain sounds trigger a fight-or-flight response) and the need to find control over sonic triggers, and to find beauty in something ugly.    

Artist bio:  
Ross Whyte is an award-winning Scottish composer who writes for film and theatre. He completed a PhD in Musical Composition at the University of Aberdeen.  He later co-founded the duo WHYTE, an ambient electronic act known for modernising traditional Gaelic songs.  The duo won the prestigious Scottish Gaelic Award for Arts and Culture in 2019.  Ross currently performs with A New International.  

His new album 'Provenance' is out now.    

Website/social links   
https://www.facebook.com/rosswhytemusic
https://www.instagram.com/rosswhytemusic/
https://www.rosswhyte.com/

On a remote Cumbrian estuary, we can hear acoustic evidence of war games and territorial machinations. Across the spectrum of frequencies, we cross the three rivers that meet the littoral zone of the Irish Sea, where the wayfarer, tourist, and resident zig zag blindly across the water, land, and airspace, in search of resolution and meaning. The estuary and its surrounds are populated by greenshank, wigeon, oystercatcher, geese, curlew, heron, cormorant, gulls, corvid and the elusive natterjack toad, who collectively sound out a multispecies milieux, fighting for survival, or just having a laugh. Engulfed by trains, trains, and prevailing so'westerly winds, the ecology is illuminated by uranium-filled flasks rumbling past, fighter jets patrolling the skies, and MOD shells firing into the sea.    

Artist bio:  
RL Wilson is an artist, researcher, and producer who predominately lives and works in west Cumbria, where he runs the platform RE Drift. Wilson's practice is multidisciplinary, collaborative, and socially embedded - focusing on liveness and place - working with, and combining sound, text, performance, and the moving image. He holds the current title of Egremont Crab Fair's Gurning Champion and pays regularly visits to time traveller Michael Moon's bookshop. These activities he is immensely proud of, as they highlight both the ugliness and beauty of this small portion of the earth.    

Website/social links   
https://redrift.net/rl-wilson/
https://www.instagram.com/irl.wilson/

1 Emilie Mousset - Remue la Nuit (10:40)
2 Adrián Velasco – lespontanea (5:35)
3 Giovanna Turrini - ALL THIS CHATTERING AROUND. IN THESE FRACTURED TIMES (12:36)

1) Emilie Mousset - Remue la Nuit

Written and composed for Ondes de nuit#2 on the occasion of the winter solstice, at the invitation of Radio Canut. Broadcast on 21 December 2024 on Radio Canut 102.2 FM in Lyon (Lyon), for an entire night of live airtime. The proposed theme was ‘the longest night’. From this simple phrase emerged a text, oral and rhythmic, a poem that I recited and set to music in an intimate form. The title is a distant reference to Henri Michaux's text ‘La nuit remue’ as well as a kind of playful call, an invitation to the night, to continue and vibrate as long as possible. The piece was then selected for the Supersonique festival in Marseille and performed to an orchestra of loudspeakers on Sunday 7 September, during a day of concerts and long-distance listening, from noon to midnight, at the GMEM.    

Emilie Mousset is a sound artist and electroacoustic composer. After studying literature and dramaturgy, she trained in sound techniques at the INA and in electroacoustic composition at the CRD in Pantin (France) with Christine Groult. Her work combines radio and musical writing with broadcasting devices that favour listening in specific contexts: concerts of acousmatic pieces, installations in public spaces or landscapes. She also composes for the performing arts and visual arts, and regularly collaborates with directors, musicians and visual artists. She is a trainer at the INA (Paris) and runs workshops for a variety of audiences (schools, hospitals, prisons, etc.).      

http://www.emiliemousset.net
https://emiliemousset.bandcamp.com/
https://soundcloud.com/emilie-mousset/

2) Adrián Velasco – lespontanea
 
Some captions published on a private Instagram account were verbalizing many thoughts that I hadn't yet been able to formulate.
This piece collects some writings by @rosello.alba, attempting to find that curious point in her texts where the chaotic nature of the micro manages to balance with the coherent nature of the macro, without taking away the work's virtue of spontaneity.    

Adrián Velasco (2002, Malaga - Spain) is a composer and multimedia artist based in Hamburg. His work is characterized by a fragmented and maximalist language that investigates the dialogue between contemporary and pop/urban aesthetics. Attentive to the concerns of his generation, he addresses issues related to Internet culture, multiple identities and privacy in the digital age. His pieces have been performed in renowned national venues such as the Auditorio Nacional, Ateneo de Madrid, Museo Reina Sofía, Teatro de la Zarzuela, Centro Cultural Villa de Nerja, Sala Berlanga, among others.
    
adrivelasco.com
@adrivelaasco    

3) Giovanna Turrini - ALL THIS CHATTERING AROUND. IN THESE FRACTURED TIMES  

Sonic narrative about the rift between anthropogenic noise and non-human planetary pulse, weaving together (see credits) hydrographic datasets, vocal compositions/experimentations from Ezra Pound, the logic of the algorithm vs. art possibility, ending up with the "Comédie humaine" of world-famous line Ridi, Pagliaccio/Laugh, You Joker juxtaposed with democratic protest.
AI-TTS generated voices set against human vocal composition/experimentation.  Certain hydrographic files, breath, final humming are processed by the Po River’s urban shores through the static amplifier Vaiacube made out of the resonating red spruce of the Vaia Storm destroyed "Violin Forest" (Dolomites).
Further sounds/voices include original gramophone sound, river rowing training, plastic cork rhythmics, error signal, wood amplifier caressing.
The work challenges the present algorithmic logic and (social platforms') chattering intertwined with the human and non-human perilous, present condition, singling out waters (and sound) as the connecting agency beyond borders and species.
    
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.    

new.express.adobe.com/webpage/Rkel3QrhISiEv
http://www.youtube.com/@BRIDGES-giovannaturrini
bridgesgiovannaturrini.bandcamp.com/
http://www.linkedin.com/in/giovannaturrini

1 Yonca Yildirim - cyanea lamarckii (9:52)    
2 Aled Simons - Hover-bored (05:20)
3 Sylvain Souklaye - instant + instinct + absence (4:41)
4 Frontera Glaciar - Fantasma Azul Imaginario (10:00)
 
 
1) Yonca Yildirim - cyanea lamarckii

This sound work 'cyanea lamarckii' is understood as an exploration of a drift of a blue jellyfish toward its final destiny on the shore, moving from the distant sound of the waves to the subtle resonance of shells beneath the water, and finally to the last drops of water on the sand. The sound piece itself is not a chronological narrative of this event, but rather examining the awareness and consciousness of time.
A sonic deterritorial experience culminating in the jellyfish’s demise. The beach as a place of foreign space of alienation and impuissance. The wave as a force that dissolves sonically into space, an oceanic gesture revealing both the beauty and danger of nature.    

Yonca Yildirim (1993, based in Cologne), part of the Mimosa Collective and séances
sonores, works across installation, photography, and sound at the Academy of Media Arts
Cologne. Her works emerge from the exploration of diverse materials and the interplay of components, incorporating layers, reflections, and transparencies as well as elements of fragmentation and abstraction.      

https://www.instagram.com/yonca.yil/

2) Aled Simons - Hover-bored

Hover-bored—written and narrated by Aled Simons—offers an imagined conversation with a real-life Marty McFly impersonator. An urge to ask this lookalike about growing up, and his relationship to past, present and future. Spiralling through speculative future fashions, time capsules on TV, Blue Peter in 1971 and Y2K. Zombie websites, link rot and the tomb of Saint Walpurga. The work observes the parallel space of doppelgängers and fakes. What imitations reveal about their counterparts, and vice versa, questioning if a counterfeit holds its own authenticity or remains just a reflection—an echo. An attempt to decipher what we choose to remember and how we decide to venerate; in what way should we dispose of that which we wish to forget? Specially adapted for radio, Hover-bored was originally commissioned by Nick Davies for forthcoming publication ‘Y Dyfodol Presennol / The Future Present’ set for release in 2026.    

Aled Simons' practice investigates anecdote, pseudo-science, ritual and memory. He often employs looping or repetition: animated gifs and half-forgotten memes. Early 1990s television and its specific place at the shift between analogue broadcast and on-demand viewing. Occupying a space between the tension release of a laugh and the awkwardness of things that go on too long or fall flat and fail. An attempt to preserve a skewed legacy of humankind; amassed debris at the shoreline after a catastrophic wave has wiped out most of what we once knew, or half-remember—re-interpreting or misunderstanding the idea of an heirloom.    

https://www.aledsimons.com
https://www.instagram.com/aled.simons

3) Sylvain Souklaye - instant + instinct + absence (4:41)


INSTANT + INSTINCT + ABSENCE is unfiltered and untreated.
The more I listen to the noise of tyranny, the less I can process it. I decided to improvise around immediacy, intimacy, and the raw nature of sound, thought, and voice, and to develop a language of resistance.    

Sylvain Souklaye is a French-Caribbean, Brooklyn-based live artist and public researcher whose practice activates epigenetic dialogues and democratic interactions in public space through performance, action poetry, electroacoustic and spatial audio, and collective intimacy experiences. His socially engaged and politically radical work has been featured internationally at Chelsea Factory, Judson Church, New York Live Arts, Center for Performance Research, IRCAM, the Barbican, Bibliotheque Nationale de France, Performance Philosophy Biennial, and Ars Electronica, among others.
He is a recipient of the Puffin Foundation Theater Grant 2025, fellow at Harvestworks 2025 and Target Margin Theater 2024, commissioned by International Contemporary Ensemble 2024.  

https://www.sylvainsouklaye.com
https://www.instagram.com/sylvain.souklaye/
https://sylvainsouklaye.bandcamp.com

4) Frontera Glaciar - Fantasma Azul Imaginario

In Fantasma Azul Imaginario (Imaginary Blue Ghost) an experiment with sounds is developed to create a project based on a real case.

In March 2020, news broke of a sei whale stranding in the waters off Tierra del Fuego (Patagonia, Chile), and the incident was closed without anyone being held responsible. Ignacio (Frontera Glaciar), who has lived in the region his entire life, read the shocking news, conducted an investigation, and developed a project that seeks to bring to light, through voices and Patagonian marine spaces, the case that left suspicions about what really happened to this marine animal.    

Frontera Glaciar is a sound artist, performer, experimental musician, and DJ from Punta Arenas who blends Patagonian soundscapes with diverse voices. His work encompasses radio art, music production, sound experimentation, and live performance. He has created the shows “Fantasma Azul Imaginario” (2023) and “Fantasma Antártico Gris” (2025), which focus on science and daily life in Magallanes. In 2024, he released the ambient and experimental EP “Patio Nevado.” His concerts integrate synthesizers, machines, MIDI controllers, vocals, and sound objects, creating a playful and unique performance.    

https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar

Electromagnetic waves fill the universe, radiating from solar storms and bursts of lightning. Using simple, DIY tools, we can transduce these very low frequency (VLF) radio waves into sound. This is nature’s radio. In this piece, we hear from artists and VLF enthusiasts Alyssa Moxley, Dan Tapper, Hannah Kemp-Welch, Matt Parker, pantea, Rob Stammes, Sébastien Robert and Stephen P. McGreevy, who share stories of listening across decades and continents.      

Artist bio:  
Hannah Kemp-Welch is a sound artist working through social and collaborative practice, often in community settings. Her work frequently uses analogue technologies such as radio transmitters and mechanical cameras, valuing their openness to collective experimentation. Recent projects include 'All Under One Magnetosphere', a BBC Radio 4 feature produced with Oliver Sanders, and 'Listening Transmissions', a community project and radio installation for Museo Thyssen-Bornemisza, Madrid. She is a member of Shortwave Collective, an international feminist radio art group.    

Website/social links   
https://www.sound-art-hannah.com/
https://www.instagram.com/soundarthannah/

A sonic tribute to Crossness Nature Reserve, a fragment of ancient marshland that once stretched from Woolwich to Erith on the River Thames. Serving as a refuge to some significant and nationally rare species the site’s diminutive size and open appearance belie the fact that through patient looking and listening a richness of place slowly reveals itself. Originally commissioned for Three Rivers Bexley, remnant horizon platforms the voices of this place - human and more-than-human - interweaving sounds from the reserve’s inhabitants with reflections from activists and advocates whose care and dedication sustain it. Their voices express a profound connection to the land and a commitment to its protection. Set against the ongoing threat of industrial redevelopment, the work carries a constant sonic tension, with human activity lingering at its edges. Sadly since its creation, expansion of neighbouring waste incinerator infrastructure has been approved, intensifying the loss of this landscape.      

Artist bio:  
Working under the name Action Pyramid, Tom Fisher's projects vary from site-specific sound installations for galleries and museums, to experimental sound works, radio, documentary film and music. Utilising a multitude of recording techniques, often aimed at exploring and re-interpreting the seemingly unnoticed and unheard elements of our surroundings, he looks to present compositional and spatial expressions of these phenomena in a way that attempts to offer up alternative perspectives regarding perceptions of scale, hierarchical bias and the interconnectedness of living things. He has performed and exhibited his work internationally and attended residencies in Colombia, Iceland and the Finnish arctic.    

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

1 Parker Weston - Bloom Where You're Planted   (13:29)      
2 Lin Culbertson - Poetic Iteration (7:46)
3 Masha Kouznetsova - moscow recordings (13:33)  

1) Parker Weston - Bloom Where You're Planted
 
Slight granulated radio sample collages triggered by a ROMpler keyboard with different samples designated to different keys, culled from both public broadcasts and private EMF/RF sniffers used in local (Phoenix) field recordings.    
 
Experimental sound / multimedia visual artist involved with live Arizonan ritual ambient/dance theater group Butoh Sonics, Schadenhaus (industrial concrete noise), Smogma (free improv/kosmische), correspondence plunderphonics duo Sugar Pills Bone (with Teuthis Galore of Orb Tapes) and solo projects Stembreo (rhythmic noise), The Ɔrinkles (zolo/mashups/free improv),THE IDE OF EARTH (harsh noise wall), Dummy Rifle (power electronics), and Wretch And Reel (horror tape noise), to boot.    
pkwst.bandcamp.com
 
2) Lin Culbertson - Poetic Iteration

"Poetic Iteration" is a sound composition that melds an ambient analog soundscape with the recitation of poet Yuko Otomo. Although the two sources of this composition were recorded separately and at different times, when overlaid on each other, a unique sonic quality emerged. The evocative spoken words and their interplay with the melodies and environmental sounds, imbues the work with an eerie soundtrack-like quality. A kind of score of a film that does not yet exist.    

Musician and composer Lin Culbertson’s experience as an improviser greatly informs her sound work. Her compositions are comprised of synthesized sounds, field recordings, and conventional instruments. They incorporate aspects of improvisation and indeterminacy in their creation, arrangement, and performance. She is a founding member of the improvisational unit WHITE OUT, and has performed and recorded with a wide range of artists, most notably Tom Surgal, Jim O’Rourke, Thurston Moore, and Nels Cline. Her most recent release is an album on the Daksina label under the pseudonym lin11c entitled TED - Teenage Engineered Daydreams (released 12/16/2025).
   
https://linculbertson.net
https://whiteoutinc.com

3) Masha Kouznetsova - moscow recordings

Moscow recordings is an ongoing multidisciplinary research and documentation project emerging from the field recordings I collected during returns to my home city amid escalating repressions that force verbal communication into doublespeak. The current iteration of moscow recordings is a pathway through the city’s ambiance and a search for the sense of ground within its landscapes, personal and collective voices, resistance, and un/belonging within divided spaces. The sounds of the city were recorded directly to cassette tapes; the voices come from found homemade cassette recordings of an obscure quasi-religious radio program. These recordings were spliced, looped, and manipulated by hand. The process of fragmenting and distorting the radio voices became a cathartic, intimate intervention––a kind of breaking down of the wall of violent noise. Many thanks to a Moscow artist who gifted me found tapes with the recordings of the radio program which I used for this piece.    
 
Masha Kouznetsova’s work brings together analogue sound processes, performance, sculpture, and drawing/printmaking, with a focus on portable studio practices, salvaged materials, and site-responsive installations. Masha’s practice and research are grounded in personal experiences of transience and the search for im/perceptible connections within/between geographic and cultural worlds she moves through. Born in Moscow, Russia, Masha received her BFA from Georgia State University in 2012, and completed her MFA in 2023 at Western University in London, Ontario where she is currently pursuing a PhD in Art and Visual Culture.    

http://www.kouznetsova.cargo.site/sounds
instagram: @mashakouznetsova

4 Yisong Piao - Apparizione Del Silenzio (6:44)    
5 nazanin oghanian - milky uniform suspension (6:30)  
6 Jason Bolte - M47 (7:24)    
7 Cristian Gabriele Argento - 37.473686,14.075105 (1:00)
8 Jamie Lemoine - in-between (3:04)    

4) Yisong Piao - Apparizione Del Silenzio  
 
Apparizione Del Silenzio does not contain “silence” itself—at least, not in the conventional sense of an absence of sound. Instead, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum, the friction between air and metal, the dissipation of sound waves in space—those margins of sound that are ignored, inaudible, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing, silence ceases to signify absence and becomes another mode of existence. The piece is written for tenor saxophone and electronics, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence. (*This is Fixed media version)    
 
Yisong Piao is a composer specializing in electro-acoustic and instrumental music based in Seoul, Korea. He is the researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA).
His works have been showcased at prestigious events like the International Computer Music Conference (ICMC 2023，China；ICMC 2024 Korea；ICMC 2025 Boston) in China and Korea, highlighting his innovative approach to integrating real-time computer processing with traditional instruments.
His recent focus is on exploring microtonality and the possibilities of algorithmic approaches in composition.    
 
http://www.piaoyisong.org
 
5) nazanin oghanian - milky uniform suspension

Every month, I waited to receive the injections on one side of a hospital curtain, listening to the fragmented sounds of a nurse mixing and preparing the medicine and the needles. The title, ‘milky uniform suspension,' is the technical description of the correct viscosity of the hormonal liquid I could hear being prepared. ‘milky uniform suspension' focuses on the ways in which those sounds of what I could not see evoked my imagination, and how this continues to be folded into my memories of the medicalization of my body.
In this work, you hear the sounds of some found objects through which I studied, explored, and examined in a performative act. This is part of ‘Patient #17301’ series which unpacks the layers of control related to the medicalization of my body, through through my childhood experience of being treated for ‘precocious puberty’ — pubertal development earlier than clinical normative age.    

nazanin oghanian is a multidisciplinary artist and experimental filmmaker. nazanin’s work is rooted in critical reflection on themes such as body, identity, gender, memory, politics, and the ongoing tension between the individual and society. Their work explores how power structures manifest in the control of women’s and queer bodies, particularly through the medicalization of reproductive health. Working mostly with sensory stimulative installations, they are interested in discrete components of the auditory, visual and gestural aspects of memory and control.
They currently live and work in Glasgow, Scotland, on lands shaped by histories of clearance, enclosure, and displacement.    

https://youtu.be/RGONbgDTdcs

6) Jason Bolte - M47

M47 is an electroacoustic work inspired by an image of the Phantom Galaxy captured by the James Webb Telescope.    

Jason Bolte is a composer and educator. Jason teaches music technology and composition at Montana State University where he serves as the Director of the School of Music. Jason’s music explores the North American mountain west, modular synthesis and live performance, intersections of music, art, and science, and spaces he finds compelling.    

http://www.jasonbolte.com

7) Cristian Gabriele Argento - 37.473686,14.075105

This work originates from a personal experience in the Sicilian countryside and opens onto a universal listening space where memory, geography, and perception intertwine. Created using contact microphones placed on an olive tree, it explores the hidden sonic dimension of a landscape shaped by the warm breath of the sirocco wind. From the trunk emerges a deep, resonant flow — the voice of the wood bending under pressure — while the branches reveal subtler textures, like flowing water. In Sicily, a land increasingly affected by drought, this sonic quality gains a stronger meaning, evoking movement and life within an arid environment. Rather than a document, the piece is an intimate and abstract sonic photograph of place. Here, nature and technology meet in silence, turning listening into a political gesture that gives voice to what is fragile and absent, and invites reflection on care for land and water.    

Born in Catania in 1998, Cristian started to make music as a self-taught at the age of 14. His interest in new technologies applied to music was born in high school, studying subjects such as electronic and computer science; during this period he did some extra school courses about new technologies and electronic music. After his high school studies he decided to make of electronic music his future so he decided to enroll at the conservatory of Palermo. Currently he attends the second year of the Master course of electronic music at the conservatory of Palermo.    

8) Jamie Lemoine - in-between

This piece takes sounds sampled from a home tape recording made around 1959 and deconstructs them, looping parts and playing with their pitch. The recording is juxtaposed with deconstructed elements sampled from a classical score conducted by Leonard Bernstein and the New York Philharmonic Orchestra a few years later in 1961, Debussy’s “Prélude à l'après-midi d'un faune” (Prelude to the Afternoon of a Faun). This piece by Debussy, originally composed in 1894, is considered to be a turning point in classical music and has been widely influential. The home recording was made around the time rock and roll was emerging, just prior to groups like The Beatles, Jimi Hendrix and many others who changed the course of modern music.      

Jamie has worked with music and sound for several decades. An album he produced won best rap album at the California Music Awards in 2004. Jamie is now focused on creating experimental music and sound compositions, often including field recordings and found footage. The Irish Museum of Modern Art commissioned an original soundscape composition by Jamie in 2024, responding to an ecological site located in the grounds. A site-specific music composition of Jamie's was selected for inclusion in Sound Walk Berlin as part of the Month of Contemporary Music Berlin 2023.      

instagram: @pond.studios
website: https://www.pondstudios.com/music

1) Paul Nataraj - ACK STREET (12:03)
2) Suk-Jun Kim - Sealed to Become (5:42)

1) Paul Nataraj - ACK STREET
 
One of several made during my artist residencies for the 'Contested Desires: Constructive Dialogues' project in Budapest, Hungary and Newcastle UK. They include interviews which I conducted with members of the community groups 'Mira Haus' in Budapest and 'Sangini' in South Shields, a Black and minorities women led community arts project who I had the honour of working with.

The pieces bring together, field recordings, found sound, interviews, AI generated voices and spoken word elements as a response that is exploring the contemporary legacies of imperialism and colonialism, to consider how this sounds in the present moment. The works engage with the memories of migration, hidden stories and notions of belonging.
 
2) Suk-Jun Kim - Sealed to Become - From Humming (CD)
       
 ‘But most of all, humming is special among the vocalic sounds in that it is specifically directed inward, more than any other sounds. The natural omnidirectionality of the voice is hampered by the mouth shut, lips sealed, which reflect humming back to the self and amplify the function of hearing, listening in. In this way, humming always swirls toward the interior initially. And again, in this regard, the closed mouth and its sealed lips are functioning like a mirror; but unlike a mirror, they are not there to materialise the aural image, but to drive humming toward the interior. If the gaze is the scoping object, perhaps the hum is a hearing-listening object, or object h…’ – Humming  by Suk-Jun Kim (2019)

Biog
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.

Collapsing Aether, as its title suggests, seeks to explore the concept of aether. Taking the form of a sonic drift, the piece navigates between the various incarnations and manifestations of the aether, from its primordial mythological form to the mysteries of dark matter. Through its various phases of substantiation, from ancient philosophy and traditional wave and gravitational theories to quantum physics, the work revolves around an elusive element and invites reflection on the challenges, limitations and promises of the unrepresentable.

Credits:
Text, sounds and music by François J. BONNET
Narrated by Lucy RAILTON
With quotes by: Diogenes Laërtius, Henri Poincaré, Henri Michaux and Albert Einstein.
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:
François J. Bonnet is a Franco-Swiss composer, writer and theoretician based in Paris. He’s been a member of INA GRM since 2007 and became its director in 2018. He has published several books: The Order of Sounds, The Infra-World, After Death (Urbanomic) and The Music To Come (Shelter Press). He’s the co-editor of the SPECTRES book series (Shelter Press) and the Recollection GRM and Portraits GRM record series. He also produces radio shows for France Musique. His music, often presented as Kassel Jaeger, has been played in renowned venues and festivals all over the world.

https://kasseljaeger.com/about/

Fossils of Slow Violence is a collective project created during the ongoing war in Ukraine. This broadcast presents its sound component. It is an attempt to apply decolonial logic to the current war of conquest — a war with a deep historical and colonial dimension.

A fossil is any preserved remains, impression, or trace of any once-living thing from a past geological age. We conceptualise this notion to frame the process of preserving remains left by the exhaustive industrialization and devastating war — plants, animals, humans. Their remains may be found in hundred centuries as memory of the devastations imprinted on the body of the earth. In hundred centuries the earth will recycle these remains into fossil minerals, which the US is trading for now. The land is under ruins, the soil is deadly toxic, but future of minerals are already resolved. It seems that US-Russian “superpowers” are dividing “the skin of the unkilled bear”. “Ukraine’s land, its geological composition, its agrarian capacities, and its population [have] become commodities”

The soundscape consists of sounds of industrial extraction, mining operations, urban life during wartime, and audio from the front line of combat.

link: http://www.nogr.me/fossils_of_slow_violence

Artist bio:  
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.    

Website/social links  https://nogr.me

1 Alejandro Tux - Ecos de pólvora (9:35)  
2 Nathanael Jones - autobody (001-005 transatlantic metamix) (14:15)
3 Tristan Rhys Williams - Llech-Tal-Môn (Pen Llech) (17:02)

1) Alejandro Tux - Ecos de pólvora

The work explores the ritual, everyday, and festive use of fireworks in Tepoztlán, México, focusing on their acoustic relationship with the natural and urban landscape. Firecrackers, present during patron saint festivals and processions, are understood as vibrations that travel across hills, ravines, and bodies, symbolically activating collective space. The piece investigates how these detonations not only interrupt the environment but reveal the acoustic geography of the territory, transforming according to vegetation, humidity, topography, and local architecture. Based on field recordings captured from multiple locations, the work takes shape as a sound composition that renders audible what often goes unnoticed: distant echoes, resonances between mountains, and the charged silence that follows the blast. Through editing and electroacoustic processing, fireworks are reconfigured as a vibratory language articulating body, ritual, and territory, proposing an expanded listening of the landscape.    

This work was developed with the support of the Entornos Sonoros Call by the General Directorate of the Fonoteca Nacional, Secretaría de Cultura of Mexico.

Alejandro Tux (Mexico City, 1984) works at the intersection of sound art and mycology. His sonic practice explores auditory experience through acoustic amplification, synthesis, magnetic tape, algorithmic composition, microtonality, sampling, multichannel audio, and field recording. He has studied philosophy and sociology of music, sound art, phonography, soundscape studies, and digital audio programming with free and open-source software. Since 2004, he has been active as an artist and promoter in Mexico’s experimental music community, coordinating the independent label Campo Abierto. Since 2010, he has documented and cataloged macroscopic fungi in central Mexico, collaborating on genetic-based taxonomic research.    

https://www.alejandrotux.com/
https://www.instagram.com/alejandrotux/
https://www.facebook.com/alejandro.tux.tux

2) Nathanael Jones - autobody (001-005 transatlantic metamix)    
 
On the morning of December 29th, 2024, a heavy fog set in. The flight was delayed, then cancelled. The residency and subsequent exhibition in jeopardy. It rained, and the rain and the money spent and the earliest flight coalesced around a performance/play text inspired by conversations had with a collaborator and friend. What we really talk about when we say things like, “gig economy,” or, “late capitalism,” is that the imperative to labour longer, more efficiently, and for lower pay is inherently skewed towards impotent economies of self-care, gender and race-based social death, and the tragedy of the commons played out at scale and across physical and virtual realities alike—indeed, there is no meaningful articulation of this division left. Overdevelopment signals a divergence within the praxis our progress narratives give rise to, an uneven reallocation of resources, value, and opportunities. In a feedback loop, attention attenuates ad infinitum.    
 
Nathanael Jones is an Afro-Caribbean Canadian writer and artist. Born in Montreal/Tiohtià:ke, he holds degrees from NSCAD University and the School of the Art Institute of Chicago. Jones is the author of the full-length poetry collection Aqueous (The Porcupine’s Quill, 2024) and three chapbooks, Category Five Hurricane Alexa (Gordon Hill, 2025), La Poésie Caraïbe (Damask Press, 2018), and ATG (HAIR CLUB, 2016). His work has been exhibited and performed across North America and the United Kingdom, and has been published in DREGINALD, Ghost Proposal, Aurochs, Heavy Feather Review, TIMBER, Action, Spectacle, and Poetry Magazine.    
 
https://linktr.ee/NathanaelJones
https://www.poetryfoundation.org/poets/nathanael-lee-jones#tab-poems

3) Tristan Rhys Williams - Llech-Tal-Môn (Pen Llech)
 
These are companion ambulatory sound works on Ynys Môn, designed as slow walks through landscape, listening, and deep time. Hauntological in character, they approach place obliquely—through echoes, textures, and residues rather than clear narrative—treating movement itself as the work’s focus. The pieces are distinguished by their recording sites: Lôn-y-Bwbach near Llanddyfnan, layered with historical and folk memory, and the beach below Castell Mawr at Traeth Coch, where tides, river flow, and birds shape an exposed acoustic field. Across both, field recordings intertwine with the artist’s compositions and worn fragments of Welsh song, appearing like eroded sonic artefacts. The shared title draws on the myth of Llech-Tal-Môn as preserved and elaborated by Wil Ifan o Fôn in Bonedd y Cymru neu Lyfr Hynafion Byd, which describes an ancient cave system imagined as secretly linking road, farmland, hill, and coast—an unseen subterranean architecture mirrored in the works’ shifting, tunnel-like sound world.    
 
Tristan makes soundworks based on the psychogeographic charge from Ynys Môn (the isle of Anglesey). They work towards a ritualistic, degraded aesthetic informed by the elements and ancient sites in the environs. Recent works have appeared on the ‘Listen to the Voice of Fire’ collections: ‘The Shining Pyramid’, ‘The Surface of Past Time’ and 'Dylan Eil Ton'. Discreet Archive released YrbrydMôn in 2025 and Tristan collaborated with poet Rhys Trimble on the album Ynys Dywyll released by Ty Cerdd.     
https://tristanrhyswilliams.com/
https://www.instagram.com/trissyrhys/

1 Water Feature - Various Birds - pond bather (1:11)
2Juliette Liautaud – Infraordinaria (17:41)

1) Water Feature - Various Birds - pond bather

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/
 
2) Juliette Liautaud – Infraordinaria
 
Infraordinaria is an electroacoustic composition made of field recordings of ultra sounds of bats, sound objects, gongs and synthethizers, dealing with the infra ordinary existence of minimalistic variations we sometimes experiment in natural environments, when the days are elonging. It is a slow journey into almost invisible presences underlined by a minimalistic instrumentation. Played on acousmonium, this is a stereo version of the piece for radio.    
 
Juliette Liautaud is a visual artist and electronic musician based in Marseille, France. She makes electroacoustic compositions, photography and films, and is the co-funder of the publisher Stereo Editions.
She has played her music under the moniker Lull and is a resident of independent radios Station Station and Lyl radio.    
 
julietteliautaud.com,
Instagram.com/juliette__liautaud

In Tom’s House, we listen to the diaristic meanderings of a man who’s returned home for the first time in 15 years. Walking up Haddon Drive he spots the house of an old friend, Tom. The front door is open, so he goes inside. Wandering around the empty Tudor cottage –making cups of tea, rearranging CD collections and zoning in on the minutiae of domestic space– he ruminates on ideas of emotional intimacy, friendship and grief.

Tom’s House is a one person performed audio-drama that it incorporates voice, live foley, field recordings and an original soundtrack composed by K. Freund, Kareem Lotfy, Zuza Banasińska and Jacob Oostra. It was released earlier this year on Amsterdam/Paris based label, South of North.    

Artist bio:  
Jacob Dwyer is an artist based in Amsterdam working with audio, moving-images and writing. His work often centres around personal encounters that could equally be seen as fables or heresy. He has presented in art spaces, film festivals and music venues, including Cafe Oto (London), IFFR (Rotterdam), David Dale Gallery (Glasgow), Good Children (New Orleans) and De Appel (Amsterdam). In 2022 he released The Devil Museum on vinyl with Mana Records and has since published Notes on Devils with Building Fictions. Most recently he has released his new audio drama, Tom's House, on South of North.    

Website/social links  Website: http://www.jacobdwyer.com
Instagram: @jacobdwyer106
Tom's House Bandcamp: https://jacobdwyer.bandcamp.com/album/toms-house
Live Performance: https://youtu.be/E-W-FYg_WKI?si=mDyYnrgwzIWatb2F

When women have secrets, social pressure often plays a role. The stories they need to hide can be similar all over the world: family problems, abortion, sexual abuse, relationships, intimacy worries. Brazilian sound artist Carla Boregas has collected audio recordings from over 70 women of different nationalities and age groups telling their secrets. Reflecting on the question “Can a woman’s voice telling a secret resonate on other voices?”, she played these secrets archive to singers Audrey Chen, Anjeline de Dios, Cansu Tanrikulu, and Paola Ribeiro. Carla Boregas then assembled their improvised reactions into a composition. Commisioned and Produced by Deutschlandfunk Kultur and ORF Kunstradio.    

Artist bio:  
Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation,  her work spans composition, performance, sound installation and radio art. Boregas’ artistic trajectory encompasses performances and commissioned works presented at Rewire (NL), CTM Festival (DE), Le Guess Who? (NL), Akademie der Künste (DE), Festival Novas Frequências (BR). In 2022, she was awarded the European Broadcasting Union's Palma Ars Acustica prize for the composition "What Is Not / O Que Não Está" (Deutschlandfunk Kultur / ORF / CTM Festival), in collaboration with Anelena Toku and Martha Kiss Perrone.    

Website/social links   
http://www.carlaboregas.com
http://www.carlaboregas.bandcamp.com

Suk-Jun Kim - Welcome to Hasla (11:10) (2007-8)
 
The Great Khan has dreamed of a city; he describes it to Marco Polo… and says: “Set out, explore every coast, and seek this city,” the Khan says to Marco. “Then come back and tell me if my dream corresponds to reality.” “Forgive me, my lord, there is no doubt that sooner or later I shall set sail from that dock,” Marco says, “but I shall not come back to tell you about it. The city exists and it has a simple secret: it knows only departures, not returns.”

Invisible Cities, Italo Calvino

Welcome to Hasla! A faraway land in which everything appears to be as strange as familiar; a place to which you have never traveled, yet one that resembles eerily every town you have visited before; a town at which as soon as you arrive, you realize that you have already left.

Welcome To Hasla is a 5-channel electroacoustic music that is loosely based on Italo Calvino’s Invisible Cities. Ever since I read the novel, I have been thinking about, dreaming about, and imagining about an electroacoustic music that can somehow realize any of the cities about which Marco Polo told King Kublai Khan. Each story about cities that Marco Polo deciphers is a metaphor for regrets, memories, relationships, and other human conditions that have been inflicted on a traveler, who is presumably Marco Polo—and eventually Khan as he is the listener of these stories and the King of all these cities. At first I thought about a piece based on one or a few specific cities described in the novel, but quickly came to a realization that what I have had in mind is not any city Calvino wrote in his storytelling, but a city that I was able to conjure up while reading his book.

Sungeun, my wife, wrote for me a list of 76 imaginary cities. Though the list bore only names, these names were intriguing to me. One particular name among these 76 names that caught my imagination as soon as I saw was Hasla. Strictly speaking, Hasla is not an unknown city. It is an ancient name for Gangneung, Sungeun’s hometown where I had spent my high school years and met her for the first time. However, the name had a more eerie and stranger vibe on me. And then, one day I dreamed of a writer:

I am imagining a writer, who has just returned from a city of which name is very slippery for him to remember. In the middle of a night, he wakes up from a strange dream. Trying to write about the city he has been to and dreamed about, a name suddenly occurs to him: Hasla! But, at the same time, he is no longer sure whether he actually made the travel or his dream has finally caught him for good!

Welcome To Hasla was commissioned by IMEB, Bourges, France, and composed at IMEB and VICC, Sweden.

Biog
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.
 
https://reddoorsound.com/

1 Amanni Hassan Hollands - The Pearl Diver and The Sea (Joe Hirst Mix) (3:28)    
2 Clemens von Reusner – SALIX (6:09)    
3 Vincent Eoppolo - God is Weeping (3:40)
4 Toni Dimitrov - The Sound Inside the Fridge (5:32) 

1) Amanni Hassan Hollands - The Pearl Diver and The Sea (Joe Hirst Mix)  
 
Together with her father, artist Amanni Hassan Hollands examines early 20th Century pearl diving in the Persian Gulf, specifically the communities of migratory divers who - often enslaved or indentured - endured perilous encounters with the sea. Through the vocal performance of reciprocal poetry practice, ideas of language translation and transmutation between Arabic and English map onto potential communication thresholds between the human and non-human. The complex encounters of the divers with the sea is expressed through regional folk music called fijiri. Sampled throughout the work, it forms another strand of human vocalisation, often emulating the sounds and motions of the sea. Giving a voice to the sea helps express what is ambiguous and unresolved in relationships between the human and non-human. Perhaps through listening, a kinship can be found between the sea and the diver, where both have been exploited in the interests of that which wields greater power.    

Amanni Hassan Hollands is a British-Emirati artist concerned with frameworks of identity and time associated with domestic archives. The material and oral histories uncovered from her own family archive are leveraged to examine the complex nature of mixed ethnicity, towards a feeling of belonging. Her practice is formulated through investigative methods, and the interrogation of what can be derived from this personal archive and via recording the narratives woven by storytellers in the family.
     
amanni_hh (Instagram)

2) Clemens von Reusner – SALIX    

“Salix" originated from an acoustic observation of the branches and leaves of an old "Salix Alba Tristis" (white willow) gently moved by the wind. These movements create sonic gestures and textures, reflecting also the life-giving and increasingly scarce water within the plant.
The sound structure reveals spectral and temporal variations, which are further developed electronically. The formal proportions follow the golden ratio, evident in the intervals between the striking sounds.
This piece reminds us that not only this mighty tree but all living beings and the earth that supports them urgently need our care and mindful treatment today and in the future.

Clemens von Reusner, german composer (* 1957). His works of electroacoustic music and radiophonic audio pieces focus on both purely electronically generated sounds and sounds found in special places and processed in the studio. The work on sound itself, its arrangement and movement on individual tracks in the virtual acoustic spaces of multi-channel loudspeaker configurations are at the centre of his compositional work. He is member of the "Academy of German Music Authors". His works have been awarded with national and international prizes. They are performed at renowned international festivals for contemporary music.

http://www.cvr-net.de

3) Vincent Eoppolo - God is Weeping
 
Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

https://vincenteoppolo.bandcamp.com/
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

4) Toni Dimitrov - The Sound Inside the Fridge

The Sound Inside the Fridge is a close-microscopic sound study recorded from within the freezing compartment of a domestic refrigerator. By placing the recorder inside the confined, mechanical interior, the work exposes an otherwise hidden sonic landscape - low-frequency drones, compressor pulses, cracking ice, circulating air, and thermal shifts. The piece transforms an everyday appliance into an immersive acoustic chamber, revealing the intimate machinery of preservation and the subtle tension between coldness, isolation, and continuous mechanical life.

Toni Dimitrov is a Macedonian multimedia artist, cultural producer, curator, radio host, and label owner whose work interweaves experimental music, sound art, and field recording. Active for more than twenty years, he has developed a distinctive practice that moves fluidly between experimental composition, radio art, installation, video, and photography, often linking sonic exploration with social and political reflection. He has released numerous albums and EPs through different monikers and collaborations on labels worldwide, and has performed internationally at festivals, events, and residencies focused on experimental and contemporary sound practices. Dimitrov runs the imprint Post Global Recordings and curates Élan Vital Recordings. Through his long-standing radio programs on Kanal 103, he actively contributes to the global discourse on contemporary electronic music, ambient forms, soundscape composition, and critical culture. His work has been presented in exhibitions locally and abroad, including the landmark survey Audiosphere Sound Experimentation 1980–2020 at the Museo Reina Sofía, curated by FranciscoLópez. Dimitrov has also worked on projects addressing political readings of the media. He is currently director of the Cultural Information Center – Skopje.

elanvital.bandcamp.com
post-global.com

5 Sanjay Majumder - Euclidean Horizons (5:30)  
6 Ubu Kung - Insurrection Blues (5:20)  
7 Bob L. T. Sturm - The Terms Remain (9:19)    
8 Alastair Cavanagh - Subterranea (10:31)  
9 Yifan Feng - 0.5cm to Milk Froth (8:17)    
10 Water Feature - Various Birds - charnwood pigeon (1:21)  

5) Sanjay Majumder - Euclidean Horizons
Euclidean Horizons is an experimental radio work that transforms algorithmic sound into immersive, meditative landscapes. Using Euclidean rhythms, layered synthetic instruments, and convolutional reverb, the piece creates evolving textures that mimic natural cycles and environmental resonance. Humanized timing and melodic motifs introduce organic variation within structured patterns, producing an interplay between predictability and spontaneity. Designed specifically for radio, it exploits stereo space, temporal layering, and spatial depth to engage listeners in a reflective auditory experience. Through its crystalline pads, expressive leads, and dynamic harmonic shifts, the work evokes the fragility and complexity of ecological systems, inviting audiences to perceive the subtle textures of sound as a metaphor for the environment. Euclidean Horizons is both an exploration of sonic geometry and a meditation on our relationship with the changing world.    
 
Sanjay Majumder is an experimental sound artist and composer whose work merges technology, music, and immersive auditory experiences. With a foundation in acoustics, music technology, and computer science, he creates compositions that integrate algorithmic sound design, generative processes, and spatial audio, crafting multidimensional sonic environments that engage listeners deeply. His practice spans software-based composition and research-driven audio experimentation, exploring innovative methods to manipulate sound through real-time synthesis, convolution, and machine learning algorithms. His works often blend structured musical forms with abstract textures, challenging traditional notions of rhythm, harmony, and spatial perception.      
 
6) Ubu Kung - Insurrection Blues
Insurrection Blues reflects on the next inevitable steps for a downtrodden world in turmoil.      

Simon Coates is a London, UK-based multimedia artist. The founder of feted arts and activism platform, Tse Tse Fly Middle East, he also makes experimental work under his Ubu Kung pseudonym.    
http://www.simoncoates.co.uk
http://www.tsetseflymiddleeast.org

7) Bob L. T. Sturm - The Terms Remain
Generative AI technologies, such as large language models and image and music synthesis models, are being made broadly accessible as online platforms sporting simple interfaces and cheap subscription plans. Each, however, comes with a Terms of Service (ToS) that is not so broadly interpretable. This composition provides an accessible interpretation of the ToS of a specific commercial prompt-based AI music generation platform. Careful Robert Ashley (1930-2014) has had a significant impact on my musical aesthetics since I became familiar in 1995 with his opera Improvement: Don Leaves Linda. He speaks like people I know (Midwest USA), assembles layers of text and subtext wonderfully, and has a unique style that I enjoy. So, I wondered, how might he interpret the ToS of Udio? Then I wondered: How well can ChatGPT and Udio mimic Ashley’s inimitable voice? This audio-visual work answers that question. I find the output of ChatGPT to provide a    

Sturm is an Associate Professor in Computer Science at the Royal Institute of Technology in Stockholm, Sweden and a composer. He specialises in music informatics, AI and music. From 2020-2025 he led a large research project called MUSAiC: Music at the Frontiers of Artificial Creativity and Criticism.    
https://bobltsturm.bandcamp.com/

8) Alastair Cavanagh - Subterranea    
Those who inhabit the cities of this world spend an increasing amount of time existing inside of constructed interior environments. Publicly accessible infrastructure such as train stations and libraries, offices and retail facilities, and underground pathways that allow you to navigate below the surface of a city, all limit the amount of time necessary to spend in the exterior world while navigating an urban environment and the time spent interacting with the exterior spaces of a city seems to have become more of a transitional process necessary for movement between interior, constructed spaces.
Stemming from a late-night phone recording of an empty metro station, Subterranea is an ambient soundscape composition exploring the cathedral-like qualities of vast underground public spaces.
   
Alastair Cavanagh is a musician, sound artist, composer, and digital waveform manipulator currently based in Toronto, ON. His work encompasses music, sound design, soundscape composition, multi-channel installation, and interdisciplinary collaboration with fellow artists. Through his work he aims to capture the emotional qualities of sound design, revealing the hidden rhythms and melodies that lay beneath the surfaces of non-musical elements.    
https://alastaircavanagh.bandcamp.com/
https://www.instagram.com/ingo_svaan/
 
9) Yifan Feng - 0.5cm to Milk Froth    
A close recording of milk froth on the top of the coffee, 0.5cm away. It sounds electric—but not—but still electrified me. Bon appétit, with only one cup of coffee.    
Sound is an unexpectedly acquired language for Yifan; perhaps it can say something through all her stammering.

Yifan currently studies at the Academy of Media Arts Cologne, where her artistic practice centers on documentary film and sound art. She is drawn to questions of (multi-)language and expression, the (anti-)archival image and its apparition, secrecy and its translation, love and its loss, and the sudden arrival of the past in the present.   
https://shanghaioscillatorsgroup.bandcamp.com/
https://www.instagram.com/syi_ga/

10) Water Feature - Various Birds - charnwood pigeon
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/

This third part of the series is rooted in Elista, the capital of Kalmykia, where my family moved in 1992—making the common transition from a Kalmyk village to the regional center.
Starting with the first post-Soviet decade, I explore the modes of sonic subjectivity shaped by personal and collective experience. My aim is to generate something new—something that transcends the trap of mere nostalgic rummaging.
In this work, I blend fragments of memory with the sounds of Buddhist temples, public gatherings, MTV pop, political speech, early TV ads, and Kalmyk music and language. Together, they reflect the mix of Tibeto-Mongolian, Russian, and Western influences that shaped the region far beyond the purely sonic realm.    

Artist bio:  
Victoria Sarangova (*1985 in Kalmykia, a south-western Russian republic) works with sound, video, text, and embroidery. Her frequently site-specific installations explore progress, memory, and identity. She graduated with a BA in Performance Design and Practice from Central Saint Martins, London, and an MA in Art in Context from the Universität der Künste Berlin. Her work has been shown at venues and festivals such as Spore Initiative, CTM 2024, Kunstraum Kreuzberg/Bethanien in Berlin, and Sound/Image 2023 in London. Sarangova is a co-founder of the MU Collective, a group of artists from Kalmykia.
    
Website/social links  https://sarangova.com
Archaeology description: https://sarangova.com/archaeology-of-progress-elista/

Dust Cartographies brings together two live performance activations that took place between 2021 and 2025 at the Cotton Exchange Building in Blackburn and Nottingham Contemporary. Emerging from an ongoing dialogue between Paul Stan Nataraj and Masimba Hwati, the work grows out of years of conversations on sound, migration, Indigenous ecological knowledge, ritual, and the politics of belonging.

Gathering fragments of these exchanges, the piece maps a sonic cartography of dust—as residue, witness, and archive. Moving between Blackburn, Nottingham, and Chernobyl, it traces the intertwined afterlives of industrialization, colonial extraction, and ecological damage, revealing how distant landscapes remain connected through shared histories of labor, contamination, and loss.

Interwoven with these broader histories are intimate reflections on friendship, migration, ancestry, and the search for home. Through voices, field recordings, and resonant silences, Dust Cartographies invites listeners to hear dust not as debris but as a material that carries memory across places, binding damaged landscapes and lived experience into a shared act of listening.

A Radiophrenia commission produced with the support of Creative Scotland.
 
Biographies:

Paul Stan Nataraj
Paul Stan Nataraj is a British artist, researcher, educator, and sound practitioner based in Blackburn, Lancashire. Working across sound, installation, performance, writing, and archival research, his practice investigates the entangled relationships between memory, materiality, migration, and postcolonial identity. Through field recordings, ethnographic interviews, found sound, text, modified vinyl records, and recorded archives, he explores how objects and sonic traces become living repositories of personal and collective histories.
Drawing on his own experience of mixed-race identity and the histories of the South Asian diaspora, Nataraj examines the enduring legacies of colonialism, displacement, and national fracture. His work foregrounds voices and memories often excluded from official histories, proposing listening as a critical methodology through which acts of remembrance, repair, and cultural negotiation can unfold. Records, recordings, and acts of repetition become sites where memory is continually rewritten, revealing the complex ways identity is carried across generations, geographies, and material forms.
Nataraj holds a practice-led Ph.D. in Sound Studies from the University of Sussex and has served as a research associate on the Migrant Memory and the Postcolonial Imagination project at Loughborough University. His work has been presented internationally, including the British Textile Biennial, the Kochi-Muziris Biennale, Jerwood Survey III—the UK's leading touring exhibition of emerging contemporary artists—and Contested Desires: Constructed Dialogues, a major Creative Europe initiative examining the enduring legacies of colonialism through artistic research, international residencies, and community exchange.
His sound works have been broadcast by BBC Radio 3's Late Junction, Radiophrenia, NTS, Resonance Extra, The Wire's Adventures in Sound and Music, and Berlin Community Radio. Alongside his artistic practice, Nataraj is an established writer on sound and contemporary culture, contributing to The Routledge Companion to Sound Studies, The Bloomsbury Handbook of Sonic Methodologies, Sonic Faction: Audio Essay as Medium and Method (Urbanomic, 2024), and Partition and the South Asian Diaspora: Exploring (Inherited) Memories and Creative Practices of Remembering (Routledge, 2025). His work occupies a distinctive position at the intersection of contemporary sound art, critical race studies, material culture, and artistic research, demonstrating how listening can become a practice of historical inquiry, social imagination, and cultural repair.
 
Masimba Hwati
Masimba Hwati is a Zimbabwean interdisciplinary artist, composer, performer, and researcher whose practice unfolds across sound, sculpture, performance, installation, moving image, and writing. Originally from Mhondoro, Mashonaland West Province, and now based in Vienna, Hwati explores listening as both artistic method and ethical practice, investigating the relationships between sound, memory, material culture, migration, and Indigenous knowledge systems. His work proposes sound as a living archive through which histories, ecologies, and ancestral continuities can be encountered, remembered, and reimagined.
Working between acoustic experimentation, sculptural assemblage, field recording, ritual performance, and collaborative research, Hwati creates immersive environments where sonic and material languages converge. His projects draw upon vernacular technologies, found objects, environmental sound, and embodied forms of listening to examine the afterlives of colonialism, ecological transformation, and the politics of place and belonging.
Hwati's work has been exhibited and performed internationally across Africa, Europe, and North America, including the 56th Venice Biennale, the British Textile Biennial, the University of Johannesburg, Black History Month Berlin, Radiophrenia, and numerous museums, festivals, galleries, and public spaces in Zimbabwe, South Africa, Germany, Austria, Belgium, France, the United Kingdom, Canada, Nigeria, and the United States. His works are held in public and private collections, including the University of Michigan Museum of Art (UMMA), Philharmonie de Paris, the National Gallery of Zimbabwe, Iziko South African National Gallery, the Jorge M. Pérez Collection, and Manchester Contemporary.
He is the author of Chidzimbahwe Philosophies of Sound (Palgrave Macmillan, 2026), Der Seeteufel: And Other Alien Species in the Mysteriously Dark Labyrinths of the Danube (2022), and Sokunge (As If) (2021). His recordings include Root Leaf (Collapsing Drums, 2025), Hwati Collino (Alien Passengers, 2022), and Lakenights (Alien Passengers, 2019), extending his investigations into sound as a site of experimentation, resonance, and cultural inquiry.
Hwati holds an MFA from the Penny W. Stamps School of Art & Design at the University of Michigan and completed a PhD in art practice at the Academy of Fine Arts Vienna. A graduate of the Skowhegan School of Painting & Sculpture, he has received numerous honors, including Zimbabwe's National Arts Merit Award (NAMA), the Cathrin Pichler Prize, and fellowships and residencies in Europe, Africa, and North America. His practice continues to bridge artistic research, experimental sound, and decolonial thought through projects that ask how listening might become a form of custodianship, relation, and repair.

This compressed day cycle is perceived through the sounds of crickets, katydids, and cicadas, which were recorded during my solo hiking trip. The activity level of these insects is related to the ambient temperature, which makes it easy to determine the time of day and the state of the environment. Originally a multichannel installation, eight speakers were set up around a hiking tent to invite viewers to listen from inside. Temperature affects the sound these insects make, and temperature affects us humans a lot, even subconsciously. Having recently moved between several countries, I have had many thoughts and observations about how the climate greatly influences people's behavior.
Phonurgia Nova Award 2019, prix "Paysage Sonore"; released at Sonospace, “Soundmaps for the dreamer”; broadcasted at Wanderlust at Cashmere Radio, Sonic bloom
    
Artist bio:  
Yulia Glukhova (she/her) -- sound artist, sound designer, composer born in 1989 in Moscow, currently based in Berlin. She is passionate about time-based arts and enjoys exploring the power of sound in storytelling and its relationship to the visual.
She creates sound design, makes installations and performances exploring perception mechanisms, feeling of time and sense of presence. Her works has received several international awards, including Phonurgia Nova Award for her multichannel installation “Ci(r)cadian Rhythm”.
She hosts creative field recording workshops, works as a sound supervisor for the podcast studio “Radio Arzamas” and runs the sound studio "Bar Zahlen".    

Website/social links  https://hyperreal.place/

Production: SWR 2025 With the voices of: Mariana Carvalho, Carrie Getman, Zach Hart, Chris Heenan, Jessie Marino,  Koen Nutter, Yollette Thomas,  Sebastian Warne                     "vague guess: human" is reported by the bird app on the smartphone if no bird matches the analyzed sound. – Were the birds too far away? Had a person cleared his throat? Imitating the bird with decoy calls? Or are the birds peeking out of the encyclopedic depth of the app? For example, the peacock that carries the hundred eyes of Argus in its plumage and thus spies the human being? Who is watching whom? Biography: Antje Vowinckel is a Berlin based  composer, radio 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

BUS 59 is the first outcome of Take to the Road, a collaboration between artist Lorie Ballage and composer Mathias Loose. The 18-minute audio piece unfolds as a guided meditation set within a rainy urban landscape, drawing listeners into a sensory and emotional journey. Through layered narration, concrete sounds, ambient textures, and carefully composed musical cues, the work evokes states of frustration, impatience, disorientation, and quiet release. Its sonic choreography amplifies the physicality of rain, movement, and urban noise, transforming everyday disruptions into moments of heightened awareness. Centered on themes of surrender and acceptance, BUS 59 invites listeners to reflect on the rhythms that govern contemporary life. By embracing unexpected turns and relinquishing control, the piece creates a space for contemplation—where chaos and harmony coexist—and encourages a deeper understanding of the self within the wider emotional and societal landscape.    

Artist bios:  
 
Lorie Ballage (FR/NO) is a Bergen-based visual artist whose practice explores watery utopias, emotional tension, and the poetics of surrender. Working across ceramic installation, sound, and text, she creates immersive environments that invite introspection. She holds an MFA from the Art Academy in Bergen and exhibits widely across Europe.
 
Mathias Loose (DK) is a Copenhagen-based composer and sound artist blending electronic and analogue textures into emotionally rich sonic worlds. His work spans film, performance, and spatial sound installations. He holds a Master of Music in Film Composition from the Danish National Academy of Music and presents work internationally.    

Website/social links  
 
Lorie Ballage:
https://lorieballage.com/
https://www.instagram.com/lorieballage/?hl=en

Mathias Loose:
https://open.spotify.com/intl-fr/artist/0Lxbw1rC1uak2pQTCOvbAo?si=5YIfrQY1T6OizlZopdw9cQ
https://on.soundcloud.com/t1NDHGZcsQwNTMnJQo
https://www.instagram.com/mattiloose/?hl=en

1 Ben Gaunt - Daisuki Hachiōji (8:08)         
2 Fabio Bola e Alex Hamburger - Grasev Nrt Re (6:23)             
3 Cornil – Jungle 01 (9:14)  
4 Leila Peacock – CHOIR (12:00)    

1) Ben Gaunt - Daisuki Hachiōji      
 
Daisuki Hachiōji is an electronic work made using sounds recorded while staying with my wife’s family in Hachioji, on the western edge of Tokyo.
The material includes recordings made in a local park, sounds of my niece and nephew, traffic, and trains passing through the area. For much of the piece, these sounds reflect the parts of Hachioji that I am particularly drawn to: quiet, beautiful, calm, with a sense of night-time nostalgia. 
Later in the piece, there is a sudden shift, as recorded train announcements (Hachiōji and Nishi-Hachiōji) come to the foreground. 
The piece is both a personal response to a place I love and a record of my time spent listening within it.

Ben Gaunt is a Yorkshire-based composer, sonic artist and improviser, and Professor of Composition at Leeds Conservatoire. His music has been performed internationally by the London Symphony Orchestra, London Sinfonietta, Psappha, the Ligeti Quartet, Rarescale, Grimethorpe Colliery Band and many others. His music has been broadcast on BBC Radio 3, premiered at hcmf//, and he has been nominated for a British Composer Award and an Ivor Novello Award. His electroacoustic work has been selected through international open calls, including winning Bent Frequency’s Underscore competition, leading to a performance in Atlanta.      
bengaunt.com
 
https://soundcloud.com/bencomposer
https://x.com/bencomposer/

2) Fabio Bola e Alex Hamburger - Grasev Nrt Re         

GRASEV NRT RE Fabio Bola / Fabio Mourilhe This work proposes a surgical intervention and a sonic archaeology operation on one of the monuments of Brazilian literature, the novel Grande Sertão: Veredas , by João Guimarães Rosa. Using a radical vertical “cut-up” on pages 124 and 125 of the book, 1968 edition by Editora José Olympio, the piece treats the printed page as a geographical territory . The strips of paper become fissures in the landscape of Rosa's prose , destroying the horizontal narrative to release the raw, phonetic, percussive, and unfiltered language of the sertão (backlands). It is not a reading, it is an excavation. Concept​ The artwork “GRASEV NRT RE” establishes a tense and revealing relationship with Grande Sertão: Veredas by João Guimarães Rosa. Through the technique of vertical “ cut -up ” applied to pages 124 and 125, the artwork does not seek to “read” the book,     

Fabio Mourilhe (Fabio Bola) has a PhD in art from UERJ, a post-doctorate in art from UFRJ, a master's degree in design from PUC-Rio and a degree in web design. He also has a PhD and a degree in philosophy (UFRJ and UERJ). He has been creating new productions and curating diverse works in art, video art, and integrated arts. He won the award for best video art for “Aion”, chosen by the public at MFL 2024, Brasil. With "Burn", he won a special jury prize at the 2nd Yeosu International Web Drama Film Festival, South Korea. Alex Hamburger link     

https://www.behance.net/magneticstudiobr
https://www.instagram.com/fabiobolax/
https://www.p-arte.org/en/artists/alex-hamburger

3) Cornil – Jungle 01 

The Jungle series is an experiment or recreating an imaginery living ecosystem, using only feedback and no input techniques. Electronic sounds came to life when they're out of control, letting unpredictability and chaos driving the way     

Based in Brussels, Jérémy Bocquet (Cornil) is a sound artist whose practice revolves around fostering dialogues between sound and space, deeply engaging in the nuances of auditory perception. His work intricately blends poetic and philosophical dimensions of sound experience, delving into the concept of «inframince» — subtle yet profound differences found in the intervals between places and beings.     

https://cornilmusic.bandcamp.com/
https://soundcloud.com/cornilmusic

4) Leila Peacock – CHOIR     

The work CHOIR is composed of three singing voices, which is  my voice three times. This 12 minute playback-loop begins with the three of them whispering in unison, barely audible incantations of some unspecific ritual text. They then break into a three-hymn-cycle,
before returning to whispering and then falling silent.
These ‘alchemical hymns’ are loosely inspired by the great 17th century alchemist Michael Maier’s Hermetic work ‘Atalanta Fugiens’, they are also inspired by my continuing engagement with the tradition of female mystics, especially the work of Hildegard of Bingen, whose extraordinary visions also manifested in both choral music and illuminated texts. The lyrics to the songs contain ideas around creation, experimentation, transformation, harmony, and the search for form. I am fascinated with alchemy as a metaphor for art-making, as a form of thinking that uses symbols intuitively to capture a hidden knowledge beyond our rational understanding.      

Leila Peacock (1981 UK, studio in Zürich, lives in Basel). After studying both literature and fine art, her practice inhabits a place between writing and drawing,  Recently she has added an element of song. Her work shows the various influence of medieval alchemical manuscripts, comic books, 18th century satire, sci-fi, experimental fiction, female mystics, elements of her Persian heritage and most recently the traditional english hymnary.     

@leilaleilapeacockpeacock
leilapeacock.com

1 Marco Dibeltulu - Contrasti armonici (6:52)    
2 Sara Maino & Claudia Ferretti Isonde - A cave’s dream (5:15)     
3 Sergio Salazar – Biocoenosis (10:04)     
4 SASOR – ROSAS – SINTONIZAR (2:13)    

1) Marco Dibeltulu - Contrasti armonici   

The idea of the piece comes from the choice of the material for its construction: the harmonics, fundamental elements for the generation of each complex timbre.
The sounds used are exclusively synthetic, made with various synthesis techniques (additive, subtractive, FM and granular).
Formally it can be divided into three parts: the first, quite fragmentary, is made up of “clouds” of impulses and “grains”; the second incorporates some elements of the first with overlapping sound bands, and finally the third is a crescendo of bands that culminates in the finale, characterized by overlapping cyclic elements.
The result is a harmonic texture, now dense, now rarefied, where the play of counterpoint, even the implicit one, the opposition between different sound masses and the contrasts of chiaroscuro determine the structure of the whole.     

Marco Dibeltulu studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music. He teaches Musical Technologies at the Liceo Musicale “D. A. Azuni”, Sassari. His compositions have been selected in many competitions, as 24th International Electronic Music Competition “Luigi Russolo” – Varese; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 – New York City; Soundcinema Düsseldorf 2022 (1st Prize); The San Francisco Tape Music Festival 2023, 2025. He performed at Festivals: Synthèse – Bourges; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal; Audio Art 2021 (CIME Concert) – Kraków.     

http://www.marcodibeltulu.it
https://soundcloud.com/marco-dibeltulu

https://rmnmusic.com/marco-dibeltulu/

2) Sara Maino & Claudia Ferretti Isonde - A cave’s dream 

A few steps lead us inside an oolite quarry in a mountainous area of Trentino, in Italy. 
The vocal performance of a group of children transports us into a dreamlike atmosphere.
Here, their listening voices try to tune in to the language of the rocks, wishing to start a dialogue of sounds.     

Sara Maino is an Italian Sound and Audio-visual artist, author, poet and performer, film and theatre director, and a community-engaged researcher. 
Claudia Ferretti is an Italian Sound Artist, singer and facilitator of Collaborative Vocal Improvisation, Soundwalk conductor, poet and author.     

http://www.saramaino.it
https://www.instagram.com/maino9800
https://www.facebook.com/mainosara/
https://soundcloud.com/sara-maino
https://claudiaferretti.bandcamp.com
https://www.facebook.com/audiay
https://www.instagram.com/isonde/?hl=it
http://www.youtube.com/channel/UC1NwaP5jGen9oIcnRaQQAfQ

3) Sergio Salazar – Biocoenosis 

Biocoenosis is structured around the concept of biocoenosis as a network of interdependent living systems. The work approaches sound as a relational structure in which texture, timbre, and tempo function as organizing forces within a continuously evolving environment. Through processes of interaction and mutual influence, acoustic and electronic materials unfold as coexisting entities, responsive to gradual transformations and shifting states of balance. These relationships suggest models of coexistence, inviting modes of listening centered on adaptation, interdependence, and equilibrium within the sonic ecosystem.     

Sergio Salazar is an emerging latin american composer and sound designer. His compositions have premiered in Mexico, including: The Cinco Cinco Cinco Contemporary Music Concerts at the Center of the Arts in Monterrey (2022), and in Mexico City at the Casa de la Paz Theater. He studied musical composition at the National University of La Plata and continued to explore experimental music through artistic residencies. His work lives at the intersection of sound, image, and the unseen structures that bind them, drawing inspiration from the aleatory patterns of nature, like the fractal sprawl of branches, the rhythmic pulse of water.     

http://www.sergio-salazar.com

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

80 years after the end of World War II, what remains?

Candice Savoyat retraces her family’s footsteps. First to Chemnitz, Germany, where her maternal grandmother was born to a Polish Jewish father, before fleeing to France. Then to Mauthausen, Austria, where her paternal great-grandfather, who had joined the Resistance, was deported.
By connecting these two family histories, she brings them into dialogue with the present, gathering the voices of strangers met along the way.
An intimate and universal journey, to be listened with headphones.

Created by: Candice Savoyat
Music: Amédée de Murcia
Mixing: Jules Wysocki
Translation: Céline Gay    

Artist bio:  
Candice Savoyat is a radio columnist, sound artist, and educator with a deep passion for the radio and sound medium. Since 2018, she has been contributing to Radio Vostok, a local community station in Geneva, Switzerland. In 2020, she turned to sound creation and was awarded Radio Bascule’s first sound creation grant (Meyrin, Switzerland) for her project Voyages en messagerie (“Travel to Voicemail”). She has since produced a range of sound pieces for Swiss cultural and academic institutions. In 2024, she received the first City of Geneva grant supporting audio creation and produced Shine a light on the darkness.    

Website/social links   
https://soundcloud.com/candice-savoyat
https://vimeo.com/user173277056

1 Jaime Cid-Lara - Valparaíso’s Rain Carries Heavy Metals (17:28)        
2 John Grieve - A song from the machine (7:42)    
3 Dana Ollestad - Seis días sin luz (4:29)  

1) Jaime Cid-Lara - Valparaíso’s Rain Carries Heavy Metals    

Valparaíso’s Rain Carries Heavy Metals (La lluvia trae metales pesados) is a 2024 work based on the concept of Atmoterrorism, coined by Sloterdijk—the notion of death through the air. Here, it is applied to the industrial reality of Chile’s central coast, in the officially designated “Sacrifice Zone of Quintero-Puchuncaví.” Toxic measurements in Quintero Bay have historically been extremely high, far exceeding safety standards. Mining and electrical infrastructure activities by several corporations in the area have caused multiple ecological disasters, some making headlines with school evacuations and toxic spills into the Pacific Ocean. This work approaches the issue as a sonic research, using field recordings, processing, extended vocal techniques and composition to create a slow, suffocating auditory experience.    

Jaime Cid-Lara is a Chilean composer. He works with layers, creating pieces that function as systems: sound art, spatialization, new media, electroacoustic music, contemporary composition, algorithms, and non-acoustic musical instruments. His works often explore themes such as territory, disasters, power, and contemporary politics and geopolitics. He is the creator of the Sinfonía++ (augmented symphony) format, using these layers to approach historical events as total, immersive musical works. His interest lies in exploring boundaries and questioning what music means.    

http://www.instagram.com/jotacidlara
http://www.jaimecidlara.com

2) John Grieve - A song from the machine

For many years I have been creating audio works under the name Hastings of Malawi. These exist as vinyl records, CDs and digital releases. I have always considered these to be radio plays and any or all of them would sit well on Radiophrenia and are available to you if you want to broadcast them however you are asking for submissions of work that is not available elsewhere so I am submitting a new short radio play. The play reflects on the communication between humans and machines and asks if the machine would ever start to sing.    

John Grieve is a British sound artist, saxophonist, and poet whose work explores the intersections of sound, language, and material form. He is a founder of the experimental group Hastings of Malawi. He approaches sound as a sculptural medium—one capable of shaping space, perception, and experience. His work collapses distinctions between poetry, sculpture, and music treating them as interconnected modes of expression rooted in critical inquiry.
His work invites a slower, stranger form of listening somewhere between sound and memory and suggests that experimentalism is not a genre but a way of resisting habitual modes of production and attention.
     
https://johngrieve.org

3) Dana Ollestad - Seis días sin luz

"Seis días sin luz" is a sound collage composed from recordings of electric light captured optically through hand-built solar panel pickups, converting emitted light into audio signal. The work contains no digital processing; it presents only the sounds of light.

The piece references recurring power outages experienced by my family in Cuba, where aging and strained electrical infrastructure regularly leaves homes without electricity for hours or days. In 2024, an island-wide blackout lasted four consecutive days. The title, “Six Days Without Light” in Spanish, alludes to a fictional yet extremely plausible near-future outage of even longer duration, as ongoing political pressures from the USA and international policy shifts further strain the island’s infrastructure and threaten the nation's people.

By translating light, an emblem of stability and continuity, into unstable electrical sound, the work listens to illumination as both material and precarity.    

Dana Ollestad is a Cuban-American multi-media artist and educator, exploring loss, distance, and pixelating memories. He works with lens and time-based media, installation, performance, and utilizes field recordings, found sounds, and hand-built light-sensitive microphones. He co-curated Sediment Art Space in Richmond, VA for 6 years, and is the recipient of the Virginia Museum of Fine Art Fellowship. He is an adjunct professor at Virginia Commonwealth University, in Richmond Virginia, and Western Washington University, Bellingham Washington.    

https://danaollestad.com/
https://www.instagram.com/dana_explosions/
https://danaollestad.bandcamp.com/

1 Leonie Roessler - Emma's Hof (3:36)    
2 Amy Gowen - I Make The Bed (9:52)
3 Cláudio de Pina - Svart Hål (9:27)    
4 Alan Ahued Naime - Los Diarios (6:00)

1) Leonie Roessler - Emma's Hof
 
Emma's Hof is a small oasis in the very dense city of The Hague. The space was secured through community engagement. The inhabitants of the neighborhood literally created an oasis out of rubble. A space which now hosts native plants, insects, birds, and even frogs. Emma's Hof is a place where nature can grow, people can find refuge from their daily lives, and where kids from all sorts of cultural backgrounds can interact respectfully with plants, animals, water, and each other.      

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.      

http://www.leonieroessler.com
Facebook: Leonie Roessler
Instagram: ljroessler

2) Amy Gowen - I Make The Bed

In ‘I Make My Bed’, a hypnotic, associative, out-of-time, text-based sound work, our protagonist repeats the daily, humdrum activity-come-mantra of making the bed: a task which is typically our very first, and yet often most challenging act of the day. All whilst contemplating the breakdown of planet, society, social relations, health, and body.

The work contends with the friction of the docile demands placed on a body throughout a life, especially in contexts of domestic or reproductive labour, against the chasmic interiorites of the mind, as well as the many forms of ‘self’ we embody and encounter across time and space; punctuated through the rhythmic repetition of our daily actions.
     
Amy Gowen is a writer and editor originally from Hereford, UK, now based in Rotterdam, NL, who works with text-based practices across the mediums of writing, publishing, radio, and curation.

She works for School of Commons, a peer-learning alternative education programme, and co-founded the commons-informed publishing project HumDrumPress. She runs the writing and radio project Off Margin on Substack and Radio Worm, dedicated to interior and exterior reading and writing lives, and text that moves off the page.

In her spare time she writes experimental and literary fiction.

https://www.instagram.com/off_margin_/
https://substack.com/@offmargin?utm_source=menu
https://www.instagram.com/amygow/

3) Cláudio de Pina - Svart Hål    

Svart Hål is the Swedish word for black hole. The piece is an homage to Ingmar Bergman. The quotation is from the film Vargtimmen (1968) (The Hour of the Wolf). Vargtimmen is also the moment when most births and deaths occurs, so it relates to time and the cycle of life. A black hole also represents a cycle of death and life. The quote on this piece belongs Max Von Sydow, were he talks about time. Coincidentally, this piece was composed during the time EHT team captured the first image of a black hole (in the center of M87 galaxy) in April, 2019. Several sounds of black holes where used taken from the free sound folio of NASA. Other sounds, like clocks, bells and cuckoo clock represent the passing of time, accelerating, decelerating or being frozen, mimicking the effect of a naked singularity.      

Cláudio de Pina (1977-) is a sound artist, organist, and composer. He is the titular organist of the historic organ at the Parish Church of Ajuda (Lisbon). Integrated researcher at GIMC (CESEM, FCSH). PhD in Musical Arts (summa cum laude) with a diploma in Advanced Studies (FCSH/ESML) as an FCT scholarship holder. Master's degree in Musical Arts (with distinction on the Dean’s Honour Roll, FCSH). He studied at the Gregorian Institute of Lisbon, Hot Jazz Club, and Engineering Physics (FC). He dedicates his artistic and academic work as an organist and composer in the field of contemporary music.      

https://www.claudiodepina.com/

4) Alan Ahued Naime - Los Diarios          

This piece was commissioned by the artist Iván Navarrete, who during the 2020 was living in the mountains of Morelos, Mexico. From there, he recorded AM radio signals coming from several countries. At night, AM signals can travel very long distances by reflecting off the ionosphere. This phenomenon, known as skywave propagation, allows signals to travel thousands of kilometers.
While listening to the recordings, Iván noticed unexpected interference and later discovered it was caused by bats flying nearby. From these recordings, he commissioned me to compose an electroacoustic piece. For Los Diarios, I focused on the voices carried by these radio waves to reflect on the shared reality we experienced during the pandemic.    

Alan’s work is very often standing in the space where music/sound and other disciplines meet. With a background in music composition and multimedia art, his practice is related to sonic perception and interactivity along with his interest in communication processes and the creation of spaces for communality. His research is practice based, conducting experiments through sculptures, installations, and music composition. His pieces have been selected and awarded in several international competitions and festivals. In addition, his works have also been featured in solo and group exhibitions.      

https://www.alanahuednaime.com/

A Journey Through the Sounds of the Night is a 49-minute immersive composition by Simon Šerc and Martina Testen that transforms nocturnal field recordings into an artistic exploration of the hidden lives unfolding after sunset. Tracing the natural arc of a single night, the work reveals the forest as a sentient ecosystem where owls call, stags roar, wolves howl, and countless small creatures navigate darkness with intelligence and purpose. Over 200 audio tracks are woven into a non-repeating sonic tapestry where each sound appears once, at its own duration, creating an unrepeatable nocturnal journey. Neither documentary nor nature program, this work uses radio's intimate qualities to collapse the distance between listener and wilderness, inviting meditation on animal consciousness and the fragility of ecosystems threatened by human encroachment. The composition plays to radio's unique power to create immersive darkness - transforming listening into witnessing.    


Artist bio:  
Simon Šerc and Martina Testen are internationally recognized audiovisual artists working across sound, video, and contemporary art. Their projects have been presented at numerous international festivals, including Ars Electronica, Athens Digital Arts Festival, Miami New Media Festival, Art & Science Days, Rome Art Week, and have been featured in major media outlets. Their acclaimed sound albums, such as Biodukt, Ekodukt, and Bora Scura, have been ranked among the best in field recording. Working in tandem, they are known for distinctive field recordings and explorations of time and perception, creating immersive audiovisual worlds that merge artistic experimentation with technical precision.