Sun 13

From an archive of sounds, something mysterious is said, sonics repeated so they change in nature, from the listening point a journey is taken. Informally, public domain refers to works that are publicly available; the formal definition states that it refers to works which are intangible to private ownership or are available for public use. As rights are country-based and vary, a work may be subject to rights in one country and not in another. Playing the cultural awareness game, putting things together is a technique where sound objects, are created from collage, also known as montage, the use of portions of found or various sources. Some rights depend on registrations with a country-by-country basis, and the registration absence in a particular country implies public domain status there. A library of sound files on several different time scales importation into the library of the editing and mixing program use of the cursor…

Artist bio:
Started sometime in the 1950's by William Strong, the unconscious collective project was a completely under the radar affair, issuing tape reels at sporadic junctures, of extreme small volumes, which were listened to, so sent back and wiped with large magnets, to be reused, so only fragments survive. Years later after befriending a librarian, in central London the it was reborn with  Jane Burton, Doris Lake, Samantha Brook & Rachel Parks. Their logo is a Hammer and a Cabbage and they use various monikers to create under including Public Domain.

Website/social links
https://instituteforalienresearchvariousartists.bandcamp.com/album/the-land-of-the-escaping-sound

The Asynchronous Drone Orchestra is a remote collaborative project by Chelidon Frame where different electronic musicians are asked to share one (or more) ten minutes sound - be it a drone, a field recording, or a more elaborate soundscape - following a minimal set of rules.
All those fragments and noises are then mixed and combined in a long and coherent track, resulting in a choral soundscape where the result is bigger than the sum of its parts.

The track shared is the July 2024 iteration, featuring: Gianluca Ceccarini,Fallen, Manuel Carbone, Stefano Trezzi, Klaus Von Mork, Ian Vine, Rikard Fvs, Paul Beaudoin (https://www.asynchronousdroneorchestra.eu/iterations/202407)

Artist bio:
The Asynchronous Drone Orchestra is a remote collaborative project by Chelidon Frame where different electronic musicians are asked to share one (or more) ten minutes sound - be it a drone, a field recording, or a more elaborate soundscape - following a minimal set of rules.
All those fragments and noises are then mixed and combined in a long and coherent track, resulting in a choral soundscape where the result is bigger than the sum of its parts.

Website/social links
https://www.asynchronousdroneorchestra.eu/
https://www.instagram.com/chelidonframe/

Following a Fife-based residency, Kevin Leomo and Maria Sledmere presented 'light lapse' at Civic House in July 2024, as part of Project Somnolence, a portable lab for exploring the ways people sleep and dream. 'light lapse' was an immersive evening, which re-presented the ambience of the residency. It featured an exhibition of photography and artwork, as well as a durational performance consisting of Sledmere’s 6:40 poem, combined with field recordings and live tenor saxophone from Leomo. The poem is an ambient field work which attunes to different voices and registers, split between memories and time zones, staging the intimacy of distance and the emotional minutiae of daily blips in energy. The poem metabolises the results into a multi-sensory encounter with time. Field recordings taken at various times of day throughout the residency, utilising hydrophones and contact mics, were presented across an array of immersive speakers.

Artist bio:
Leomo is a curator, researcher, and practitioner of experimental music. His practice involves collaboration, improvisation, critical listening practices, non-standard notation, and working cross-culturally. He is the Community and Engagement for the College of Arts & Humanities at the University of Glasgow, and Chair of Sound Thought CIC.

Sledmere is an artist, writer and managing editor of SPAM Press. She is lecturer in English & Creative Writing at the University of Strathclyde and her latest poetry collection, Cinders, was published by the Bay Area press Krupskaya. Her most recent book, a creative-critical monograph, Midsummer Song (Hypercritique) was published by NoUP/Tenement Press.

Website/social links
http://www.projectsomnolence.com
http://www.kevinleomo.com
http://www.mariasledmere.com
Instagram: @kev_leomo + @cherry_melancholic
Twitter/X: @kevin_leomo + @mariaxrose

THLEEP is an ongoing sound and light project exploring the therapeutic potential of neuro-acoustics and vision physiology to reduce anxiety and improve sleep. Initially developed as live performances involving large-scale LED screens and projections, in 2023 we began developing a series of audio-only works intended for listening via radio. These pieces blend natural and ambient sounds, offering experimental audio experiences that explore how sound can passively shape mental and emotional states. Integral to the approach is the subversion of perceived stereotypes of meditative sounds; by using more everyday and mechanical environmental sounds to produce rhythmic lulls, and gradual bpm and volume declines and inclines to create passages of tension and release, we induce states often associated with more stereotypical meditative 'music'.

THLEEP present 6 pieces for broadcast that utilise the inherent psychological safety and comfort of the radio format to offer a restorative and experiential program for the audience.

Artist bio:
THLEEP; Therapising For Sleep; a series of sound and light investigations; combined as a synaesthesia to reduce anxiety and promote healthier sleep cycles. The works are developed by a collective of artists, with Damian Rayne & Amit Rai Sharma being continuous members across the project.

Damian Rayne is a UK based professional focussing on arts practice and promotion, culture and community.
Amit Rai Sharma is global majority soundartist with a background in applied audio psychology - based between the UK and Taiwan.

Individually and collectively their work and performances have been exhibited in UK, Europe, and Asia.


Website/social links
Project website - https://thleep.earth
Thleep at Trellick 50 in 2022 - https://youtu.be/WE4ySQvUG6I?si=y72ueXZ5qOGFmz76
Synaesthesia session (lockdown session) - https://youtu.be/_8hS8wt2xYc?si=GVPpX1KXi4Q01LCj

Artists
Damian Rayne IG - https://www.instagram.com/deetzschk
Amit Rai Sharma artist website - https://www.amitrsharma.com

THLEEP is an ongoing sound and light project exploring the therapeutic potential of neuro-acoustics and vision physiology to reduce anxiety and improve sleep. Initially developed as live performances involving large-scale LED screens and projections, in 2023 we began developing a series of audio-only works intended for listening via radio. These pieces blend natural and ambient sounds, offering experimental audio experiences that explore how sound can passively shape mental and emotional states. Integral to the approach is the subversion of perceived stereotypes of meditative sounds; by using more everyday and mechanical environmental sounds to produce rhythmic lulls, and gradual bpm and volume declines and inclines to create passages of tension and release, we induce states often associated with more stereotypical meditative 'music'.

THLEEP present 6 pieces for broadcast that utilise the inherent psychological safety and comfort of the radio format to offer a restorative and experiential program for the audience.

Artist bio:
THLEEP; Therapising For Sleep; a series of sound and light investigations; combined as a synaesthesia to reduce anxiety and promote healthier sleep cycles. The works are developed by a collective of artists, with Damian Rayne & Amit Rai Sharma being continuous members across the project.

Damian Rayne is a UK based professional focussing on arts practice and promotion, culture and community.
Amit Rai Sharma is global majority soundartist with a background in applied audio psychology - based between the UK and Taiwan.

Individually and collectively their work and performances have been exhibited in UK, Europe, and Asia.


Website/social links
Project website - https://thleep.earth
Thleep at Trellick 50 in 2022 - https://youtu.be/WE4ySQvUG6I?si=y72ueXZ5qOGFmz76
Synaesthesia session (lockdown session) - https://youtu.be/_8hS8wt2xYc?si=GVPpX1KXi4Q01LCj

Artists
Damian Rayne IG - https://www.instagram.com/deetzschk
Amit Rai Sharma artist website - https://www.amitrsharma.com

This album wants to stir, unsettle and surprise. But unlike with breaking news in the regular media, it refuses to transmit feelings of helplessness, fear and terror. Instead it wants to energize and revitalize, even when it grapples with incidents of violence and death. The pieces presented here were created between 1988 and 2012. In their togetherness they highlight and celebrate voices that are often relegated to the personal domain: sounds of new life, of unusual artistic sensibilities, of children’s and female voices. They have the power to tip the balance in our lives, in favour of love, resilience and human compassion. If we choose to listen! “Breaking News invites the listener to surrender to a journey to the place and time of the recording, transitioning into an abstraction of the original sounds, guided by her studio practice with looping, filtering, equalising, resonating, reverberating. It brings all the technique, sound research and creative thinking of a career spanning half a century into the present moment where for Westerkamp, headphones are still for listening, not fashion.” Jo Hutton, The Wire 460, p. 45 (excerpt) ARTISTS MotherVoiceTalk features the voices of Roy Kiyooka, Hildegard Westerkamp, Agnes Westerkamp, Mary Kiyoshi Kiyooka. Moments of Laughter features the voices of DB Boyko (performance vocals) and Sonja Ruebsaat (child's voice). Once Upon A Time narrators: Amber Martin-Ruebsaat and Sibling; girl’s voice: Sonja Ruebsaat. École polytechnique was performed by the choir of the Université du Québec à Montréal, directed by Miklós Takács.; Lori Freedman, bass clarinet; Lisa Rodrigue and Véronique Lucignano, trumpets; Daniel Fortin, percussion; and Johanne Latreille, bells. The original live recording by Charles Amirkhanian was the basis for the heightened listening experience presented here. Breaking News features the voice and sounds of the composer’s first grandchild. All tracks composed by Hildegard Westerkamp © 2021 (SOCAN)

1) Dariusz Mazurowski - Waveless Storm (10:10)
2) Leonie Roessler- what's gone is gone stays gone (12:14)
3) Jeff Gburek - Seismic Blush, July 4, 2024
4) Nguyen Hoang Gia Bao - TÔI ta _ ME we (1:04)
 
 
1) Dariusz Mazurowski - Waveless Storm

This piece for for viola and tape was composed for Polish viola player Krzysztof Komendarek-Tymendorf, with his recording project under the name ALTOTRONICA in mind. The viola is used not only as a melodic instrument, but also as a percussion instrument or creating music using innovative, contemporary performance techniques, such as tapping, pizzicato or string plucking, pressing the bow to the instrument, dirty glissando, crazy ponticello scratching, arpeggios, tremolo, flageolets, etc. All these elements are present in "Waveless Storm", in which the viola plays the role of a sonoristic sound source, treated in an unorthodox way and juxtaposed with often quite aggressive and rough electronics. Both parties - instrumental and electronic - have equal rights here and function in complete symbiosis.

Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

 
2) Leonie Roessler- what's gone is gone stays gone

A market in Berlin and the increasing absence of that market, replaced with sounds of empty hallways from the gigantic housing complex right next to it. Stark contrasts that serve as a commentary in this time in which entire civilian populations are exterminated while governments around the world are watching - or actually paying for it. This market could be any market around the world. A market with regular people going about their day. A market that could be erased with the push of a button if it happens to be in the wrong place at the wrong time.

Leonie Roessler - Composer and Performer raised in Germany and the US, now 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 curates On Air - On Site Festival, and co-manages Iranian record label Noise à Noise with Soheil Soheili. Her works have been released through Musica Dispersa (ES/UK), Noise á Noise (IR), Biodiversitàs, Syrphe(DE), Antilounge(NL), and have been physically archived in the British Library.
http://www.leonieroessler.com
Facebook: Leonie Roessler
Instagram: ljroessler

 
3) Jeff Gburek - Seismic Blush, July 4, 2024

Sesimic Blush is a a generative environment of vibrational memabranes seeking to simulated plate tectonics in a more rounded form. The tools include sine wave generator, ring modulator and resampled hydrophone recordings.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions. Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux. Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acoustics of Gaian whispers enveloping and composing existence.
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com

 
4) Nguyen Hoang Gia Bao - TÔI ta _ ME we

nHữNG NgÀY kHÓ ở Ở trêN đỜI // thoSE hArD-TO-liVe dAYS was a collection of 5 selected poets, written from 2021 - 2022 by Nguyen Hoang Gia Bao. Each of them was originally a statement of confrontation with the socially constructed so-called "nature", juggling between binaries of man & woman, love & hatred, individualism & collectivism, and so on.
As a way to deconstruct the "nature" concept, the anthologies were later exhibited in a digital space with an invitation for community manipulation. Readers were encouraged to rewrite or delete the words in their own interpretation and stylistic choices. The latter would work on the former's version/interpretation.
The audio version was captured in time of the 6th version, recorded and mixed by the original author as a means of reclaiming and authorship. The sound mixing is intentionally "left" because everything is not "right".

Nguyen Hoang Gia Bao is a Vietnamese writer and multidisciplinary artist. He embraces multimedia and expression, such as typography, photography, film, sound art, performance art with a core appreciation of poetry practices. His works have been featured in Vânguard Zine (Issue 6), Sui Generis (Bard College, 2024 Edition), WCBX Zine, etc. Bao is currently pursuing a BA Degree in Art and Media Studies at Fulbright University Vietnam.
https://www.instagram.com/nguyenhoanggiabao_

5) Simon Whetham – Channelling (5:20)
6) Pablo Paniagua - Sacred Noise (16:09)
7) andre birken - 31 monstrous demonstrations-  BLUESTRAIN (4:21)
8) Vincent Eoppolo - In Times of Chaos (3:10)
 
 
5) Simon Whetham – Channelling

Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.
The project was developed through 2021and 2022 by support from Ferme-Asile (CH), Witte Rook (NL), AiR Niederösterreich (AT), HEAR and Espaces Sonore (FR) and Château Éphémère (FR).

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/


6) Pablo Paniagua - Sacred Noise

"Sacred Noise" is an improvisational performance combining recordings of the Chubut River, a guitar prepared with objects found along its banks, and real-time sound processing. The piece explores the concept of "sacred noise" by invoking the river and local environmental conflicts, using riverbank objects as significant elements and actants. The work, resulting from over three years of research funded by a grant from the National University of the Arts, was presented at the Museo del Hambre in 2023 and was part of my master's thesis defense.

I am an artist and educator from Chubut, currently based in Buenos Aires, with a Master’s degree in Combined Artistic Languages. Since 2014, I have participated in national and international artistic events and received awards and grants. My recent work explores visual, auditory, and corporeal elements in specific contexts. As an educator, I teach at various levels of formal and informal education and conduct workshops in both public and private spaces.
https://pablopaniagua.com.ar/
https://www.instagram.com/pablopaniagua87/

 
7) andre birken - 31 monstrous demonstrations-  BLUESTRAIN

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken

 
8) Vincent Eoppolo - In Times of Chaos

Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world.

Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, 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://www.facebook.com/profile.php?id=100007788824642
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw

“In this meditation, we will rest in the containers that hold space for your eyes, your brain, the organ of your heart, your cell, and finally, we will rest in the fluid membranes of space itself. By holding space for ourselves, and our organs, we soothe our nervous system, to be able to respond creatively, and imaginatively to the needs of the moment, supporting and cultivating, more deeply, our greater purpose, and path toward collective liberation. ” A meditation journey guided by writer, musician, and vocalist Dalia Neis, drawing on revolutionary principles of collective liberation 'Doykayt' (Yiddish for 'Hereness'), Kabalistic techniques of 'no-thing', and the somatic lineages of Body-Mind centering, all set to minimal field recordings, and gentle percussion recorded in the forests of Frohnau, Berlin. Artist bio: Based in Berlin and Glasgow,  Dalia Neis is a writer, somatic trainer, musician and vocalist for Dali Muru & The Polyphonic Swarm. Previous publications include The Swarm (The Elephants) Zephyrian Spools: An Essay, a Wind (Knives, Forks & Spoons), and Hercules Road (MA Bibliothèque). Website/social links https://twicethesiren.info/ https://stroomtv.bandcamp.com/track/un-cavretico https://stroomtv.bandcamp.com/album/dali-muru-the-polyphonic-swarm https://www.instagram.com/wanda.portal/

1 Adrian Laugsch - Spasms Of My Aching Heart (6:21)
2 Andreas O. Hirsch – Rise (4:24)
3 Dariusz Mazurowski - Dossier of Oblivion (13:44)
4 Elizabeth Flood - Repetition as Transformation : Dream (7:01)
 
1) Adrian Laugsch - Spasms Of My Aching Heart

"Spasms of My Aching Heart" unfolds somewhere between a kitschy concept album and an AI-generated opera. Consisting of five originally AI-generated (but heavily revised) songs, the album delves deeply into the potential of technology in dialogue with trauma, kitsch, and pathos, striving to create a form of post-digital emotionality and artificial opulence. Shaped by kitsch theory, queer camp, and the aesthetics of Schlager music, the songs embrace their (over)expressivity with seriousness while remaining fully aware of their own absurdness.

Adrian Laugsch (*1997) is a german-polish composer/performer/soundartist.
Based on his musical interest in historical, (auto)biographical, and nostalgic sounds, his compositional work is significantly shaped by the desire for the substantive expansion of the sonic through theatrical, interdisciplinary, and multimedia strategies.
This may range from extra-musical concepts and narrative arcs to the explicit use of stage and video, intertwining traditional formats such as concert, radio play, album, music theater, and installation.
Consequently, his thematic focus lies on queer, hybrid, non-normative, and transgressive identities, as well as the exploration of post-digital artificiality and meta-religious opulence in the staging of socio-political mechanisms.
https://www.adrianlaugsch.com

2) Andreas O. Hirsch – Rise

Part of Hirsch’s new album The Salamander Treaty, out on makiphon in spring 2025. The album title makes reference  to ‚War with the Newts‘, an abysmal yet hilarious science fiction novel by Karel Čapek from 1936. The album is a sort of pacifist replica to this, with claims like Tea Time Unlimited and such. The album title and some of the track titles invite to play around with the phonetics and the meaning of the terms „treaty“, „tree“ and „tea“.

Andreas Oskar Hirsch is a Cologne based musician, visual artist and inventor of electroacoustic instruments. Together with Patricia Koellges he runs makiphon, a label for experimental music and artist records.
http://www.hirschonhirsch.com
http://www.makiphon.de

 
3) Dariusz Mazurowski - Dossier of Oblivion

"Dossier of Oblivion" is the second part of Hidden Dimensions another large-scale electroacoustic composition, in three parts, each having its own dramatic structure and profile. Again, in this case each part may also be performed as a separate piece. It contains a large collection of various sounds – mostly pure electronic and synthesized, but also those derived from vocal sounds. For this work, the entire sonic spectrum has been processed with both analog and digital tools, including phase vocoder technology, analysis and re-synthesis of various source samples, physical modeling, complex hybrid processing and many other techniques.

Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

 
4) Elizabeth Flood - Repetition as Transformation : Dream

Beginning in the body, with language of the body, with dream language, Repetition as Transformation is interested in what is lost, found, created, and felt when recounting a dream through language. Using a dream diary recording and playing with systematically removing parts of speech and rearranging, this sound collage was an exercise in recreating the feeling of language in a dream and the difficulty of finding it when waking.

Elizabeth Flood grew up in Massachusetts and currently lives in Chicago, IL. She likes to go on walks, talk on the phone, eat dinner with friends, and take ballet classes. Flood's radio work is interested in playing in the blurry space between transmission and reception, signal and noise, dreams and waking, here and there. She is curious about what radio would sound like if we didn’t listen ‘to know’? She tends to find work (and play) most interesting when creating a system and being curious about the outcome, rather than seeking a particular end result.

5 Frederico Pessoa - O lugar por onde a água corre (the place through which the water runs) (9:50)
6 Home Secretary – An Object (5:01)
7 Jorge Ramos – Paysage – (5:16)
8 Akari Komura - A piece of paper, a flutter of trees (5:13)
 
 
5) Frederico Pessoa - O lugar por onde a água corre

"O lugar por onde a água corre (the place through which the water runs) was created from recordings in Cachoeira das Andorinhas Park, where the source of the Rio das Velhas is located. This river flows through much of Minas Gerais and is a tributary of the São Francisco, one of Brazil's largest rivers. The different sounds, rhythms, and flows of water running over the various surfaces and landscapes of the park combine with excerpts of the oral expressions of Indigenous brazilians about rivers. Reflections by Ailton Krenak, a member of the Krenak ethnicity, Glicéria Tupinambá, of the Tupinambá ethnicity, and Antônio Bispo dos Santos, a quilombola from the Quilombo Saco Curtume, offer a poetic expression of their experience and knowledge about the complexity present in the waters and the life that exists in and flows through them. Voz: Flávia Péret.

Frederico Pessoa is a musician who collects soundscapes and everyday occurrences for reinterpretation in electroacoustic and radio pieces, audiovisual works, and multimedia performances. He has written texts at the intersection of literature and the sociology of listening, aiming to explore, through words, the possibilities for mobilization created by sound. He holds a Ph.D. in Arts from UFMG/Brazil, and is a member of ESCUTAS: a research and study group in sonorities at the same institution. Additionally, he is one of the coordinators of the Laboratory of Sound Experimentation at UFMG, where he works as a sound designer.
http://www.fredericopessoa.net
@f__pessoa
https://www.facebook.com/frederico.pessoa.50/

 
6) Home Secretary – An Object 
https://cardboardclub.bandcamp.com/album/stamen-and-pistil-are-husband-and-wife
 
 
7) Jorge Ramos – Paysage

Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity. Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realize how musical sound is constantly all around us.

Jorge Ramos is a Portuguese multiple award-winning composer, sound artist, and researcher based in London. He has written solo, chamber, symphony, mixed, electroacoustic, live-electronics, film, stage, installations, and advertisement music for festivals, orchestras, ensembles, and soloists across Asia, North America, Central America, South America, and Europe, while also collaborating with other artists and/or institutions on artistic contributions and computer music design. He held a composer residency at various prestigious institutions including the Calouste Gulbenkian Orchestra, Estúdios Victor Córdon, Sentidos Ilimitados, and Grand Théâtre Luxembourg. Jorge Ramos holds degrees from Conservatório de Música Calouste Gulbenkian de Braga, Escola Superior de Música
https://jorgefpramos.com
https://www.facebook.com/jorgefpramos/
https://www.instagram.com/jorgefpramos/
https://www.youtube.com/JorgeFPRamos

 
8) Akari Komura - A piece of paper, a flutter of trees

The piece engages with an intimate dimension in listening. The work reconstructs recorded sounds from slowly tearing pieces of paper that gradually develop into a modified assemblage of various timbres and rhythms. With reference to musique conréte, "A piece of paper, a flutter of trees" experiments with finding the intersection of sonic and tactile sensory experiences. "

Akari Komura (b.1996) is a composer-vocalist from Tokyo, Japan. She is interested in curating a participatory performance space that invites both performers and listeners for a collective and ritualistic act of listening and soundmaking. Her works have been presented at the Atlantic Music Festival, Composers Conference, Montreal Contemporary Music Lab, Nief-Norf, and soundSCAPE. She holds an M.M. in Composition from the University of Michigan and a B.A. in Vocal Arts from the University of California, Irvine. Akari is currently a Ph.D. composition student at the University of California San Diego.
https://www.akarikomura.com/
Instagram: @sonichabitat

Field recordings from Brazil's Atlantic Forest

This is a series of field recordings made in the transition biome between the Atlantic Forest and the Cerrado, in the mountainous region of Rio de Janeiro.
The recordings were made in different seasons of the year, between 2023-2024, and at different times of the day. Each of the recordings has an approximate duration of sixty minutes.


Artist bio:
Argentinean sound artist settled in the countryside of Rio de Janeiro, Brazil.
Her artistic work is based on the use of field recordings and navigates between soundscape and experimental electroacoustic and concrete music, focusing on listening and sound imagination.
Since 2019, she has released solo works on the labels Impulsive Habitat, Música Insólita, Pakapi Records and Sello Postal.
She has also released the collaborative works ‘Slani pejzaži’(tsss tapes), with Manja Ristić and Joana Guerra, ‘In-Radius’ (Presses Précaires) with Pablo Díaz, and “Fase de Plegamiento’ (Green Field Recordings) with Juan José Calarco.

Website/social links
linktr.ee/veronica_cerrotta
https://veronicadaniela.bandcamp.com/
https://soundcloud.com/veronicadanielacerrotta
https://www.instagram.com/veronica_cerrotta/

July.
40 miles off the top of the Outer Hebrides.
Stand below St Ronan’s church. Walk south on lazy bed corrugations to the low cliffs.
Turn east. Pass two geos. Walk up towards the lighthouse and the east coast peak, to stand above a land-slipped cliff edge.
Walk west onto, along, over the ridge and down the long slope to the west side of the northern peninsula.
Walk onto the rock field. Walk to the end of the peninsula. Walk round the tip and south along the eastern coast to the landing.

Artist bio:
I am a walking sound artist based in Newcastle upon Tyne. My practice reflects my experience of being in, and walking through, natural environments. I use recorded sound to present time, distance, place and movement in the landscape, to provide an opportunity for a listener to consider what it means to move through the landscape at a human pace and scale. Spoken poetry offers detail to a listeners’ experience. I have exhibited nationally and internationally and have created radio works for Framework Radio, Resonance EXTRA and Radiophrenia. I have a PhD in Fine Art from Newcastle University.

Links to website and/or social media
https://martinpeccles.com
https://soundcloud.com/mpeccles

1) Duncan MacLeod - Tidelines (7:11)
2) Neil Luck - Real Telepathy (10:25)
 
 
 1) Duncan MacLeod - Tidelines
 
Tidelines is a collection of soundworks combining spoken word, environmental sound, and music, reflecting the unique coastal landscape of Uist, Western Isles of Scotland. Created in collaboration with the Uist Writers Group, the project features poems written and narrated by local writers, with music and soundscapes composed by Duncan MacLeod, musician-in-residence at Taigh Chearsabhagh Museum and Arts Centre.

At its core, this work seeks to capture the essence of Uist's shores, interweaving voices, sounds, and music to evoke the deep connections between community and landscape. Supported by the University of Nottingham, with funding from Research England’s Participatory Research Fund, Tidelines is a creative exploration of place through sound and language.

The selection of poems featured here include ‘Arriving’ by Pauline Prior Pitt, ‘Low Tide East Beach’ by Thelma Marl (narrated by Calum Ferguson), ‘The World is So Beautiful’ by Kirsty O’Connor (narrated by Ciorstaidh Monk), and ‘Stonechat’ by Loriana Pauli.


Artist bio:
Uist Writers Group celebrates the literary creativity of its members through monthly meetings and collaborative projects. Based at Taigh Chearsabhagh Museum and Arts Centre, the group draws inspiration from the unique cultural and natural heritage of Uist, often publishing anthologies of their work. They also host poetry readings and events featuring local and visiting writers.

Duncan MacLeod is an award-winning composer and sound artist whose work spans concert music, sound installations, and participatory arts. Drawing on art, folklore, and socio-political issues, his work has been commissioned and performed internationally. He is Associate Professor in Music at the University of Nottingham and a researcher at the Glasgow School of Art.

Website/social links
Uist Writers Group (part of Uist Arts Association)
Website: https://uistarts.org/writers-group/
X: @UistArts
Instagram: @uistarts

Duncan MacLeod
Website: http://duncanmacleod.org
Instagram & X: @Leod_Music
Soundcloud: https://soundcloud.com/duncan-macleod 
 
 
2) Neil Luck - Real Telepathy

Real Telepathy is a radiophonic work about the nature of broadcast and shortwave communication. This collective state might exists when many dispersed bodies listen simultaneously to the same broadcast. It also happens in the shortwave radio community; individuals across the world communicating with each other somewhat chaotically via publicly accessible long-distance antennas. These connections, messages, signals all represent for me some kind of ephemeral community of communications; a telepathic network. My interest in radio as a collective listening experience heightened during the lockdowns of 2020, and spurred me to conduce a series of experiments, performances, compositions and recordings based around the interception, or modulation of radio signals. Real Telepathy is a piecing together of those into a short dreamlike narrative around late night radiophonic communications between men in their sheds. Recordings have been gathered in a variety of ways over the last few years. 

Artist bio:
NEIL LUCK is a composer and artist based in the UK. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Neil’s work takes a range of forms from music-theatre, to concert works, radio, public projects and recordings. He is the founder and director of the music-theatre ensemble ARCO; an experimental music-theatre company. ARCO has been commissioned to produce work for arts institutions, galleries and music institutions around the UK and overseas. 

Website/social links
https://www.neilluck.com/
https://x.com/Neilluck
https://www.instagram.com/arcoarcoarcoarco/


 
 
 

Bloodline of Flower is drawn from poems by Forough Farrokhzad, Iranian poet and filmmaker (1934-1967). She was published and was widely read by many Iranians during her lifetime, and has now become somewhat of a cult figure. Her poetry is one of protest and rebellion, yet it captures everyday experience without any intention of guiding, educating or directing. Her poetry is the portrait of a generation undergoing radical change. In this piece, her verse lines draw songs from wavetables or modulate the breathy tones of a Ney. Only sound remains..

Voice: Carly Wijs
Ney: Arif Erkovan
Text: Forough Farrokhzad

 
Biography 

I may say that I devote most of my time to matters related to sound and music. Every now and then I leave the studio and walk the streets and, if luck is on my side I wander along beaches or up mountains. I produce works that help me to understand the world and that voice my questions, discoveries or feelings which are ment to be shared with a potential audience. My way of both learning and becoming a better human being is to make music and sound narratives that describe people and their environments, where sound communicates what words fail to do.

Charo Calvo is a Spanish electroacoustic composer, sound designer and teacher, living in Brussels. After having performed as a dancer with the influential Belgian dance company Ultima Vez, she started her studies on Electroacoustic Composition in 1992 with Annette Vande Gorne at Brussels Conservatory (now ARTS2 Mons). Graduated in 1999.

From 1992 her work as composer is being developed through different media, widely diffused on international venues and festivals, dance performances, theatre, film and radio. She has received several important awards such as Palma Ars Acustica 2014 EBU, Phonurgia Nova Awards Paris 2017/2023, Prix Marulic 2018 Croatia, Grand Prix Nova Bucharest 2019/2022 and was shortlisted for Prix Europa Berlin, Hearsay Prize Ireland.

Charo Calvo has been a guest the residential program for international artists in Berlin DAAD Berliner Künstlerprogramm during the year 2017/2018.

Last concerts at GRM-INA Paris, KONTAKTE FESTIVAL 17 Berlin, Akademie der Künste, Berlin; MIKROMUSIK, Daad Galery, AUSLAND Berlin, VILLA ELIZABETH Berlin in duo with Natasha Barrett, ELECTROBELGE, Brussels, HEROINES OF SOUND 2019, EPICENTROOM, St Petersburg, CITYSONIC CINEMA, Belgium, BELGIAN MUSIC DAYS, PLEAYADES, Madrid, CCCB Barcelona

https://soundcloud.com/user-562545561

Moving between them in quick succession recordings of trains continuous loop allowing him to trigger together the various train sounds as needed.  The collage work may have a completely different tone than that of the component parts, even if the original parts are completely recognisable. procedures such as the quodlibet, and centonization differ in that the various elements in them are made to fit smoothly together, whereas in a collage clashes other discrepancies are important in helping the constituent elements and to convey the impression of a heterogeneous assemblage. What made their technique true collage, however, was the juxtaposition of the unrelated. musical compositions, or recordings using portions of previously made recordings an eclectic assortment algorithm to position each sound at a specific time-point or time-points, editing of the duration, amplitude, and spatial positions of all sounds Communication made to the whole world, whose only pretension is to the discovery

Artist bio:
Central London based collective;  Jane Burton, Doris Lake, Samantha Brook & Rachel Parks; Their logo is a Hammer and a Cabbage And use various monikers to create under sometime in the 1950's by William Strong, the Public Domain project was a completely under the radar affair, issuing tape reels at sporadic junctures, of extreme small volumes, which were listened to, so sent back and wiped with large magnets, to be reused, so only fragments survive. Years later after befriending a librarian, in central London the it was reborn. The project has used many names; including unconscious collective

Website/social links
https://instituteforalienresearchvariousartists.bandcamp.com/album/public-display-of-affection

1) Nichola Scrutton - At First Light (8:49)
2) Dominik Irtenkauf & Norman Mueller aka Smaely P - Dein und mein Meer (5:01)
3) Andi Cohen - (C)overt Communication (3:22)
4) Cláudio Pina - Book of Eternal Brass (9:56)
 
 
1) Nichola Scrutton - At First Light

At First Light – one from Nichola’s archive - a vocal meditation inspired by the play of light at sunrise.

Nichola Scrutton is an award-winning composer, performer and artist who produces self-directed works across various media, and collaborates on a range of interdisciplinary and participatory projects.
https://www.nicholascrutton.co.uk/
Twitter/X: @NicholaScrutton
Instagram: @nic_scrutton 
https://nicholascrutton.bandcamp.com/
https://open.spotify.com/artist/2bKegVEj2mTO0JlPDkE3qd (such it is) 
https://soundcloud.com/nic-2-1
Mailing List: http://eepurl.com/gihZh9

 
2) Dominik Irtenkauf & Norman Mueller aka Smaely P - Dein und mein Meer

As a mirror to the world, "Your and my sea" in its compression takes a broad look at a possible future. The oceans of our home planet are reclaiming the mainland. We are moving into a maritime culture. Our short radio play tries to sense this possible future acoustically and in terms of content. When it comes to sound realisation, the question arises as to how we can capture decay and destruction acoustically; field recordings, feedback and various objects and musical instruments are used in a sound collage. The plot of the radio play presented is unreal and at times phantasmatic. As in fantastic literature, ambivalences are presented. What will it look like when the sea levels on our planet Earth continue to rise? The ambivalence of the sea, from which the human species emerged, permeates this short radio play. It reflects our difficult relationship with nature and the wilderness.

Dominik Irtenkauf: concept and text
Smaely P (aka Ypsmael): voice, direction, composition, sound design and production (via NM Soundindex)

Dominik Irtenkauf (*1979), freelance author and journalist, lives in Berlin and writes for, among others, TELEPOLIS and DAS SCIENCE FICTION JAHR.

Smaely P is a pseudonym for experimental and noise music by the Black Forest-born improviser and composer NM (aka Ypsmael, Aelypsm, etc.). Current solo releases and collaborations can be found on the labels Chocolate Monk, Public Eyesore / Eh?, Steep Gloss, and Spalt-Ung.

Smaely P aka Ypsmael:
ypsmael.com
https://linktr.ee/ypsmael

NM Soundindex: soundindex.de
https://www.instagram.com/soundindex.de/
https://www.facebook.com/profile.php?id=100089071166798

Dominik Irtenkauf:
http://anthropop.de/

 
3) Andi Cohen - (C)overt Communication

A soundscape of recordings of found sounds on shortwave radio. I have been investigating communications within publicly-accessible spaces. This work explores themes of inclusion/exclusion and marginalised communities.

I am currently a full-time art student at Goldsmiths, University of London. Coming from a background of working in mental health services in the NHS, my work explores themes of interpersonal relationships, what we consciously and unconsciously hide or reveal about ourselves and the narratives we develop about ourselves and others.

 
4) Cláudio Pina - Book of Eternal Brass

Book of Eternal Brass is an electroacoustic piece based on the prophetic book of William Blake, The Book of Urizen.
Urizen's books contain his laws governing the four departments of life. Each is made of four metals, Gold, Silver, Iron and Brass. The most important is the Book of Brass, or sociology. It contains Urizen's laws for establishing an ideal society.This piece depicts an imaginary realm and the slow forging of the Book of Brass by Urizen.
The sound objects are several recordings of factories and industrial apparatus, mimicking a giant blacksmith's forge. This process is a cathartic metaphor on the idea of progress and technology, versus the society and environment. Urizen, portrayed by the composer narration on the introduction, introduces the piece.

Sound artist and composer. Titular of the historical organ of the Parish church of Ajuda. Integrated Researcher in GIMC/CESEM, FCSH-UNL. Holds a Diploma in Advanced Studies in Musical Arts (FCSH/ESML) in the field of contemporary organ music. Master in Musical Arts, in the field of electroacoustic music and contemporary organ music, with distinction on the Dean’s Honour Roll, Best Master 2018/19 (FCSH). He is currently finishing his PhD, in the same academic field. Was a FCT research fellow from 2021/24. He studied at the Gregorian Institute of Lisbon, Hot Jazz Club and Physics Eng. at FC-UL.
https://www.claudiodepina.com/

5) Egidija Medeksaite – Amithaba (12:22)
6) Myriam Bessette – Yoki (4:55)
7) andre birken  - 31 monstrous demonstrations - GAUMENFREUDEN 4 (0:47)
8) Darren Xu - (Absent) Expressions (5:00)
9) Magda Lampropoulou – Twist (7:22)
 
 
5) Egidija Medeksaite – Amithaba

Amithāba is the principal Budhha in Pure Land Buddhism, who is known as Amitāyus. Amithāba means “Infinite Light” or “Infinite Life” in Sanskrit.

The structure of Amithāba is based on a textile weave, where each voice has its own repetition. Throughout the piece, the change of each repetition depends on theimprovisation of singers who can use the “techniques” of the oldest singing style known as Drupha Darbar, which uses sounds and syllables rather than words. I am using the scale of Indian Sāranga raga, which expresses no pathos, but only tenderness.

Over the course of the work, the role of the interweaving-repetitive patterns is to create the sound of the abstract, which goes beyond boundaries and is limitless.

Dr Egidija Medekšaitė (b. 1979) received a PhD in composition from the Durham University by Prof. Richard Rinjvos and Dr Sam Hayden in 2016. She studied composition at the universities of the Lithuanian Academy of Music and Theatre (Prof. Rytis Mažulis), and Stuttgart Academy of Music, where her teachers included Marco Stroppa and Caspar J. Walter. In 2003 she took part in the Programme of Composition and Music Technology in Tampere (Finland). In 2004 she attended master classes in Istebna (Poland), Dundaga (Latvia) and the Acanthes Composition Workshop in Metz (France), where she studied with Jonathan Harvey, Philippe Manoury and Martin Matalon. The composer participates in various interdisciplinary projects, writes music for dance performances and movies, her music is constantly performed in contemporary music festivals in Lithuania and abroad.
https://on.soundcloud.com/b2gj7RcaE11yYn7Z9


6) Myriam Bessette – Yoki

Live modulated field recordings form an intricate tapestry of human interactions during a solar eclipse, reminding us of our connection to nature in this Anthropocene era.

With a background in visual arts, Myriam Bessette explores drawing and sound sampling, which she transforms and animates using technological tools. Her works, rhythmic and synesthetic, are generated by elements captured in perpetual permutation, reconciling the traditional notion of the unique and eternal artwork with the contemporary one, characterized by recycling and high data variability. She works with electronic reality to offer us consistently surprising sound creations.
https://linktr.ee/myriambessette

 
7) andre birken  - 31 monstrous demonstrations - GAUMENFREUDEN 4

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken

 
8) Darren Xu - (Absent) Expressions

This piece explores another side of expression where instead of blatant and astounding displays of disagreement and grief, more subtle and quiet voices are given more light. These soft sounds may seem undiscernible at first, but they eventually grow and gain presence.

Chinese Canadian composer Darren Xu is a PhD student at the Royal College of Music, where he was recently rewarded the Artist Diploma. He enjoys writing music for acoustic instruments, films, and cross-disciplinary collaborations. He has had the opportunity to work with various collaborators, including Standing Wave, the Wallace Collection, the English National Ballet School, Vancouver Inter-Cultural Orchestra, TorQ Percussion Quartet, Roadrunner Trio, Vancouver Symphony Orchestra, and Winnipeg Symphony Orchestra. His film score, Stargazer, was awarded Best Score by New York Film Awards in November 2018.
https://www.darrenxucomposer.com
darrenxu.composer (Instagram)
https://on.soundcloud.com/6hywjqP6btxW9smY6 (Soundcloud)


9) Magda Lampropoulou – Twist

This audio piece is an excerpt from my playing with the 36 hanging sound sculptures which consisted the main part of my new in situ sound installation “twist”. This installation was opened to the public from 10 to 14 June 2024 at the Arts Lounge of the Athens Conservatoire in the context of the Subset Festival (curated by Gasparatos Stavros) and the Athens Epidaurus Festival. The audience were navigated among floating ever-changing in shape and sound sculptures and objects with a feminine accent. Participants could freely touch them and were thus led to discover diverse qualities of sounds emanating from physical contact with the outer shell of metal and paper surfaces and their unseen inner elements as well.

Magda Lampropoulou (b. 1977 Athens) is a sculptress and sound artist based in Athens, Greece. Her artwork engages with diverse, expressive media including audio, performance, sculpture, installations, and video. With emphasis on issues such as discrimination, prejudice, and moral values imposed by a given society, she assumes a humanitarian approach to her work. She holds a degree in Sculpture from the Athens School of Fine Arts. Her participation in exhibitions, festivals, artistic radio podcasts and residencies (“Subset Festival”-Athens Epidaurus Festival/ "Tectonics Athens21", Onassis Cultural Centre/ "Works for Radio #4",The Lake Radio), has resulted in her identifying her work methodology.
https://magdoulas6.wixsite.com/magda-lampropoulou
instagram.com/lampropoulou_magda/
https://www.facebook.com/profile.php?id=100009992858432
https://www.facebook.com/profile.php?id=100063475181193

A group hypnosis session inviting you to access the power of the trance state and potential of the subconscious to cultivate positive transformation. This experience combines the practice of hypnotherapy with the synergy of voice, electronic loops, and resonant instruments. This collective practice stimulates the imagination while gradually building a multi-sensory, layered experience where stories, ideas and sensations can come alive, create positive change and promote deep transformative shifts.
 
This is a guided hypnosis, please do not listen while driving or operating machinery.

Artist bio:
Julia E. Dyck is an artist, hypnotist and radio producer originally from Treaty One Territory/ Winnipeg who currently works and lives between Brussels and Montreal/Tiohtià:ke. In 2022, she completed a two year training in clinical hypnotherapy under National Hypnosis Guild certified mentor, Andrea Iya Young.

Diana Duta’s research explores the voice and sound as both objects of theoretical reflection and cultural practices. In 2023, she received a training in Sound therapy from the Institut Français de Sonothérapie at the Abbaye de Valsaintes, France.

Website/social links
https://tr4nc3.com/
https://juliaedyck.bandcamp.com/track/octopus-hypnosis

https://dianaduta.com/
https://www.juliaedyck.com/

Rotter Otter will present house music, a new semi-improvised live performance from both in the Radiophrenia studio and with invited guests dialling in from their own homes (or wherever they happen to be). Typically, a Rotter Otter performance begins with a script as a springboard for Ben and Rebecca to sing, speak and regurgitate in-and-around the sway and drag of Rose's fx heavy cello and Hannah's synthesis. For house music,  the script will be more of a score - a shared rallying point for invited vocalists and musicians to call-in and contribute to the performance using the script-score by singing, talking, asking questions to the band, washing the dishes, drumming, working from home and playing their instruments whilst sharing the ambiences of wherever they might be. Artist bio: Rotter otter is a Glasgow-based improvising quartet featuring Rose Dagul (cello), Hannah Ellul (synth/tapes), Ben Ellul-Knight (vocals) and Rebecca Wilcox (vocals/samples). Having also worked in different configurations in the past, and on solo projects, we give attention to, and riff on the tensions between language, voice, instrument and sounds of interference. We recently performed for Rob Bidder's I'm a Bellmaker book launch, and made performances at The Old Hairdressers (Glasgow), Nan Moors (Todmorden) and Portland Works (Sheffield).

This special audio edition of Mirror Lamp Press brings together a collection of original works inspired by the 1950s song "The Great Pretender," originally performed by The Platters, weaving through themes of identity, imitation, and performance.

Freya Dooley’s The Double looks at inauthenticity and emotional labour, following a supermarket cashier’s imagined interactions with a shoplifting doppelgänger.

In A Frog Prepares, Isadora Epstein offers a retelling of a classic fairytale, with music and sound production by Davy Kehoe.

With Send in the Clowns, Sophie Robinson delivers a raw, reflective poem on heartbreak and self-betrayal, drawing inspiration from Stephen Sondheim’s sad clown archetype.

Edy Fungs’s text-sound composition Soft Selves examines identity and unpredictability in music, featuring words by Andrea Bjurström.

The glitchy sounds of a Vtech computer paired with Rachel Heavey’s childhood voice create a nostalgic and experimental atmosphere in Word Builder.

Artist bio:
Mirror Lamp Press is a digital publishing project that explores the intersection of art and literature through the newly commissioned work of artists and writers. The project aims to publish writing on and around contemporary art and literature that is well-researched, thoughtful, surprising, playful and sometimes experimental. MLP is committed to working with writers in a way that is open, receptive, and dedicated to embracing their authorial voice. It is edited by Gwen Burlington and Eoghan McIntyre and designed by Paul Mulgrew.

Website/social links
https://www.mirrorlamppress.com/
@mirrorlamppress (Instagram)

I would like to propose a live performance for Radiophrenia 2025 that investigates the intricate relationship between sound and the natural world. Over the past 18 months, I have been collecting sound and exploring themes of transition, liminal spaces, and thresholds, both in nature and within the human body and experience. This piece will incorporate found sounds and field recordings captured at key natural thresholds—such as beaches, caves, and crossroads—along with recordings from my own body. I aim to highlight the magical underpinnings of these phenomena, revealing how these intersections in nature possess unique acoustic properties that can evoke a sense of transformation and connection. I would do this by weaving a sound tapestry of drone with bowed bass guitar, shruti box and voice alongside field recordings captured at various thresholds in nature and my own body. The aim, to transport listeners to these magical natural places. Artist bio: Clare Simpson is a somatic sound artist, sound healer, performance artist, and mixed media composer based in Glasgow. With over 20 years of experience, her work is a deeply personal exploration of sound as a transformative force. At the core of Clare’s work is a profound engagement with feminine archetypes and the intricacies of transitional spaces. In her art, Clare creates a sanctuary for reflection and transformation, encouraging listeners to explore the depths of their own being. Clare holds seasonal sound tapestries in Glasgow twice a month. She frequently rehearses with her band, is an avid musical improviser and has has great success with her solo project ‘speculum bunny’, playing a variety of different experimental music nights and performances. She recently spoke and performed at The Experimental noise artists seminar in Newcastle. Website/social links https://www.instagram.com/speculum_bunny/ https://speculumbunny.bandcamp.com/

1) Matana Roberts - for they do not know (6:55)
2) Paul Rooney - Words and Silence (13.21)


1) Matana Roberts - for they do not know
From Coin Coin Chapter Five : In The Garden
 
 
2) Paul Rooney - Words and Silence 

A call centre worker, cold-calling to sell insurance, has one of her calls go to answer machine. Instead of hanging up, she leaves a message: she tells stories about silence, distance and time.

Artist bio:
Paul Rooney is an artist based in Liverpool. His installations, videos, writings and records focus on the instabilities and deceptions of narrative, particularly in relation to representing place: its everyday life; its history and folklore; its familiar strangeness. He has shown work at Tate Britain; Tate Liverpool; BALTIC; The Arnolfini; and Whitechapel Gallery; and has exhibited internationally at places such as Museo Tamayo Arte Contemporáneo, Mexico City; Centro Andaluz de Arte Contemporáneo, Seville; Kunst-Werke, Berlin; and Museo Nacional Centro de Arte Reina Sofía, Madrid. Two of his installations were purchased for the Arts Council Collection in 2015.

Website/social links
https://www.paulrooney.info/
 

EN/
The Mouras guard the earth's hidden secrets. At the mouth of a cave, beneath a monolith, or in
the mist of a hot spring, their enchanting presence watches over the entrances to mystical places,
gauging the soul of anyone who wishes to enter these sacred sanctuaries.

Adventurous voices set out to encounter these Galician mythological beings, seeking the secrets
etched in stone and the magical tales sedimented over millennia.

Will their songs reach the depths of the earth? Will they receive the Mouras' permission to pass?
And will we be able to listen to the secrets that rise through geological layers, echoing as whispers
in the hollows of our own bodies?

 
GA/
As Mouras vixían os segredos soterrados da terra. No limiar dunha cova, baixo un monólito ou
entre o vapor dunha fonte termal, as súas partículas enfeitizadoras gardan as entradas dos
lugares místicos, avaliando a alma de quen queira penetrar neses santuarios sagrados.

Voces aventureiras lánzanse entón ao encontro destas criaturas mitolóxicas galegas, na procura
dos segredos gravados na pedra e dos relatos máxicos sedimentados ao longo dos milenios.

Chegarán os seus cantos ás entrañas da terra? Recibirán o salvoconduto das Mouras? E
saberemos escoitar os segredos que soben polas capas xeolóxicas ata se converteren en
murmullos nas cavidades dos nosos propios corpos?


FR/
Les Mouras veillent sur les secrets enfouis de la terre. A l’orée d’une grotte, sous un monolithe ou
dans la vapeur d’une source d’eau chaude, leurs particules enchanteresses veillent aux accès des
lieux mystiques, jaugeant l’âme de quiconque souhaite pénétrer ces sanctuaires sacrés.

Des voix aventureuses se lancent alors à la rencontre de ces créatures mythologiques galiciennes,
en quête des secrets gravés dans la pierre et des récits magiques sédimentés à travers les
millénaires.

Leurs chants parviendront-ils aux entrailles de la terre ? Recevront-ils le laissez-passer des Mouras? Et saurons-nous prêter l’oreille aux secrets qui remontent les strates géologiques jusqu’à
devenir des murmures dans les cavités de nos propres corps?

Credits:

MOURAS - Produced by Anne Lepère
Voices : Karina Mouriño, teacher of the school of Taboexa, Galicia, Marion Sage and Anne Lepère
Children’s voices : Emil Sebastião, Artai, Brais, Einar, Xurxo, Xián, Baia Rosalía, Seixo
Based on the legends of the Mouras and the stories of Karina Mouriño
Additional poetry, recordings, composition and mixing : Anne Lepère
Special thanks to Marion Sage, Thomas Wyatt, Karina Mouriño, Jeanne Debarsy and Mark Vernon.
Photo credit : Marion Sage


Biography:

 Anne Lepère – Sound artist, composer, and radio producer.  

Since beginning my journey in sound art, I have woven together sounds, breaths, and words to cultivate a poetic practice of everyday life, from urban to rural settings. Inspired by Brussels’ creative hubs like ACSR, BNA-BBOT, and Q-O2, I began producing radio pieces in 2013, ranging from essays and soundscapes to spoken word and documentary poetry.

In 2016, my work expanded to the stage through the Prototypes III training at Royaumont Abbey (Paris), after which I began composing music and sound for theatre, performance, film, and dance, collaborating with directors, choreographers, and filmmakers across various projects.

My radio work includes Autopoïèse (2019), a piece awarded the Palma Ars Acustica and the Phonurgia Nova Prix Art Sonore, and Area (2022), a sound poem nominated for the Marulic Prize (Croatia) and the Radio Drama Festival (UK). Both pieces have been featured at international festivals.

Since 2023 I’m also leading sound creation workshops in Romania, Galicia, Togo,... introducing participants to the art of sound exploration. Currently, I am developing Nuages, a new long-form piece that uses clouds as a sound score and explores collective poetry through workshops.

http://www.annelepere.net

Auscultation Points is a medical term for the different points along the human body where doctors listen in to the patients internal organs to diagnose the overall health of the individual.  Originally recorded at the Morris Arboretum and Gardens in Philadelphia, PA this soundscape, in much the same way, acts as an audio diagnosis of the overall ecosystem of the Arboretum.

Over several visits, Rich used various microphones such as ultrasonic and contact microphones to record a wide variety of sources from the sound of bats to the insides of trees. He then returned to his studio to layer, heavily process, and arrange the sounds. The result is a soundscape that reflects the beauty of the Arboretum while highlighting human encroachment on nature and the potential losses if we don’t change our ways.

Artist bio:
Richard Hamilton is the co-owner of Dragonfly Audio Post and an award-winning sound designer, mixer, and film/tv composer with over a decade of experience.  He has mixed and sound designed for clients such as Google, NASA, Verizon, and many others.

Website/social links
https://www.dragonflyaudiopost.com/
https://www.instagram.com/richhamilton89/
https://www.instagram.com/dragonflyaudiopost/

Field recordings from Brazil's Atlantic Forest

This is a series of field recordings made in the transition biome between the Atlantic Forest and the Cerrado, in the mountainous region of Rio de Janeiro.
The recordings were made in different seasons of the year, between 2023-2024, and at different times of the day. Each of the recordings has an approximate duration of sixty minutes.


Artist bio:
Argentinean sound artist settled in the countryside of Rio de Janeiro, Brazil.
Her artistic work is based on the use of field recordings and navigates between soundscape and experimental electroacoustic and concrete music, focusing on listening and sound imagination.
Since 2019, she has released solo works on the labels Impulsive Habitat, Música Insólita, Pakapi Records and Sello Postal.
She has also released the collaborative works ‘Slani pejzaži’(tsss tapes), with Manja Ristić and Joana Guerra, ‘In-Radius’ (Presses Précaires) with Pablo Díaz, and “Fase de Plegamiento’ (Green Field Recordings) with Juan José Calarco.

Website/social links
linktr.ee/veronica_cerrotta
https://veronicadaniela.bandcamp.com/
https://soundcloud.com/veronicadanielacerrotta
https://www.instagram.com/veronica_cerrotta/

This work sonically tells a story of a day in the life of a suburb in Arizona’s Sonoran Desert. It consists of four connected soundsketches based on field recordings at four locations central to the city’s life. Here, the forces of nature and urbanization create soundscapes both beautiful and brutal. Water, long gone from its original surface locations, re-emerges everywhere in human-made forms.

“Bridge (Daybreak)” opens the work as the sun rises and day begins over a pedestrian bridge at Town Lake, once a dry river bed. “House (Morning)” travels to suburban tract housing, where swimming pools are an ecological affront and sanity-saving sanctuary in the face of climate change. “Canal (Afternoon)” visits a lifeline bringing water to the city from great distances. It is increasingly a space of recreation and development. In “Park (Twilight),” evening play, cicadas, and water dripping within a canal gate usher in the night.

Artist bio:
In Arizona and the Sonoran Desert, the struggle to secure reliable water sources is perpetual. This makes those sources enchanted places for human, animal, and floral gathering. My work seeks to make these enchanted places more present to us aurally, and to make figurative the ways that desert life is shaped by encounters with water. Development and urbanization also increase sonic incursions—“noise”—into the desert’s unique physical and imagined soundscapes. I am interested in exploring how the subjective experience of these sounds helps to frame thinking about development and conservation.

Website/social links
http://www.thomascatlaw.com
https://thomascatlaw.bandcamp.com

In "St. Lawrence", Subespai delves into the essence of tradition by weaving a mesmerising ambient soundscape around a looped traditional tune from Menorca's vibrant public festivities. Captured by his wife during the celebration, the melody serves as a heartfelt anchor, introducing listeners to a familiar cultural touchstone. As the piece unfolds, the recognisable elements gradually dissolve into a rich tapestry of textured drones and ethereal effects, inviting the audience on a journey of transformation and exploration. This sonic evolution reflects Subespai's signature approach, where sounds guide the narrative, creating an immersive experience that honours heritage while embracing abstraction. The result is a meditative soundscape that resonates with the listener, evoking a sense of place and introspection.

Artist bio:
Subespai is an experimental ambient and drone music artist from Menorca, Spain. The name is a Catalan word that translates to "subspace," reflecting the artist's focus on creating immersive and minimal soundscapes. Subespai's music often features deep, textured layers of sound, blending electronic drones, field recordings, and processed instruments.

His work typically falls within the ambient, drone, and experimental music genres, drawing inspiration from natural environments and introspective moods. Subespai often releases his music on small independent labels, appealing to listeners who enjoy meditative, abstract, or atmospheric audio experiences.

Website/social links
https://www.instagram.com/subespai/
https://subespai.bandcamp.com/music
https://soundcloud.com/subespai
https://www.youtube.com/@subespai8650
http://subespai.net/

dispositivo sonoro nato come un suppellettile che puo incuriosire e  farti avvicinare a scoprire il suono che genera oppure essere ignorato totalmentecome un frigo vecchio o un orologio a lancette che competono in una cucina con la tv o il rumore delle stoviglie
percepiti in intimita.in quell'attimo transitorio che strozza la realta. come il suono improvviso del deglutire
sound device born as a furnishing that can arouse curiosity and bring you closer to discovering the sound it generates or be totally ignored like an old fridge or a clock with hands that compete in a kitchen with the TV or the noise of the dishes
perceived intimately. in that transitory moment that strangles reality. like the sudden sound of swallowing

Artist bio:
artigiano sonoro che divide il suo tempo fra la produzione di suoni ed il suo lavoro
da quando non sviluppa pellicole fotografiche si concentra sui suoni per creare paesaggi

Website/social links
https://soundcloud.com/gustafturmak
httpshttps://www.youtube.com/@gustafturmak6156
https://denitram.bandcamp.com/

Shorts Comp 35

1) Jesse Lou Lawson - How to Look 30 When You Are 30 (11:22)
2) katarina kadijević - The room was fulfilled with nothing (15:00)
3) Shaun Robert - Ça pic un peut quand meme (15:00)
4) Chin Ting - Resonant Collision (17:00)

 
1) Jesse Lou Lawson - How to Look 30 When You Are 30

I found a pamphlet of advice for trans masculine people published in 1985 by Lou Sullivan. It had a section called How to Look 30 When You Are 30: about how people often mistake 30 year old trans mascs for 14 year old boys, and what to do about it. So I followed all of Lou’s instructions. This is a piece about the beautiful and enduring mutual aid of trans communities, and reclaiming our history in the context of a moral panic that presents transness as a new and threatening phenomenon. It features Fen Williams, Susan Stryker and Tuck Woodstock.

Jesse Lawson is a multi award winning freelance audio producer, sound designer, and community facilitator. Their work so far has explored themes including queerness, the prison industrial complex, and narratives that are historically excluded. Two projects they're very proud of are Because the Boss Belongs to Us, and Fear of Missing Out. More info and contact information: jesselawson.me.
jesselawson.me
Twitter: @JesseLRadio
Instagram: @jesseloulawson

 
2) katarina kadijević - The room was fulfilled with nothing

Sound system of politic(s)

The room was fulfilled with nothing
And the nothing was the everything

Every day I check in
that my foots carry me
floods
check in and check out
in my hand i carry plastic bag
in which are three croissants of chosen Earthly delights.

And I open my hands and become nothing

(work in progress, linked to the ongoing exploration on Self–composting strategies)

Polyphonic structures. Extremities. Process within process, landscape undertones. katarina kadijević, id-entity work in progress, is a temporary hybrid state, which likes to seek and look in- into-at different kinds of communication mechanisms, ways, possibilities, connections with the space, place, plants, animals, objects, human. Inhabiting my body, I communicate through movement, voice, poetry, listening to spaces and communicating with them. Silence is a dear friend and compass which guides me. Currently studying at Institute of Sonology, explores the realms of sound, vibration and transmission.
https://www.instagram.com/postintrotwone/
https://olpuas.bandcamp.com
https://soundcloud.com/eyel-aibrthngngh

 
3) Shaun Robert - Ça pic un peut quand meme

A burn't hauntology wrought from a synthesis of existential plain vox recordings , pulled absurdly into relationships dialed ; top form lopsided in strange grandeur . Soundscape of limbo walking haze in the shopping centred ; closed at night ; and mannequin smiles

Shaun Robert (1966 - ) Starting like many with a domestic tape recorder ; years finger poised on the pause button ; tunnelling into the present & falling into deep concentration ; in a trance of coloured sound trials ; impromptu expressions processed & filtered into moments of congealed sound ; also using field recording , in voxpop & audio voyeurism , of hauntological stylings , Cross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic. A mix of forms in an expanding wave , nudging & slating whim , composition dealt in reality , a truth of intimate confessional & intruding a microphone , the tension of triggered sounds to ape pictures of life & spoken word & singing. Falling apart to come together ; feeling the next transition is about to happen , tape phasing sound on sound ; skimming back to make collusion edits ; building deep relationships with that aesthetic ; this interaction shows itself in within all his works . And the importance of sounds from analogue radio , magnetic tape manipulation can not be understated.
https://shaunrobert.bandcamp.com

 
4) Chin Ting - Resonant Collision

Everything in the universe oscillates in predictable or unpredictable patterns. When things come in proximity, they collide, but after a while, they begin to synchronize and resonate at similar frequencies. The collisions of different sound materials are used as a metaphor for our intricate interaction and relationship with nature as well as other living beings. It reminds us to focus on what we have in common rather than how we differ, to facilitate connections rather than conflicts. We all share the same world that we ought to preserve, where we should strive to connect spiritually with those who live in it.

Composer Patrick Chin Ting CHAN grew up in Hong Kong and came to the United States in 2003. He has been featured in events including Ars Electronica, IRCAM's ManiFeste, ISCM World Music Days, UNESCO International Rostrum of Composers, and Venice Art Biennale, among others. He has worked with ensembles such as City Chamber Orchestra of Hong Kong, Ensemble intercontemporain (France), Ensemble Metamorphosis (Serbia), eighth blackbird (U.S.), Hong Kong New Music Ensemble, Mivos Quartet (U.S.), and New York New Music Ensemble, with performances in more than thirty countries. His scores are published through BabelScores and Universal Edition.
http://www.chintingchan.com

The album was conceived as a fictional radio broadcast where the sound environment ensures continuity between the spoken poems, which reveal the chaotic fragility of bodies in space-time—a landscape familiar to all travelers, regardless of the reason for their journey: love, escape, migration... One thing is certain: this radically modern journey is by no means one of leisure. There is no verbal tourism in this unrhymed poetry.

Texts and Voice: Elena Truuts

Sound Design: Martin Kikas

Cover photo: Kristina Rubinova

Artist bio:
Elena Truuts is an Estonian poet who writes in French. She lives and works in Tallinn. She completed a thesis on Nathalie Sarraute’s radiophonic theatre at the University of Paris 8. Her poems, written in French, explore the potential of an experimental translingual literary form that she calls "proses contre-proses".

Martin Kikas is a sound artist and music producer, co-founder of Ö Stuudio. For “Et tu sais,” Martin decided to capture the soundscape of Tartu, a university town in southern Estonia that has been named the European Capital of Culture 2024. He recorded voices, languages, urban noises.

Website/social links
https://frenchtheory.bandcamp.com

Poems by Elena Truuts
With English translation

1. Introduction
Ceux que tu laisses partir
Pour aller plus loin
Voyagent en prose

Those you let go
to go further
travel in prose

2.
L’année terrible m’a appris à me répéter cette phrase ordinaire : Saan hakkama. Il n’y a pas de temps futur en tant que forme grammaticale en estonien, mais il est bien connu que dans toutes les langues on trouve le moyen d’énoncer le passé, le présent et le futur. Saan hakkama veut dire à la fois je m'en sors, je vais m’en sortir et je m'en sortirai. Comme une grande. L’audace de hakkama saama, celle de pouvoir commencer, rend possibles le présent, l’intention et la promesse. « Nothing’s gonna hurt you baby. » Rien n’atteindra ton coeur, bébé, à part les missiles qui déchirent l'humanité.

The terrible year taught me to repeat this ordinary sentence to myself: Saan hakkama. There is no future tense as a grammatical form in Estonian. In all languages we find a way to conceive the past, the present and the future. Saan hakkama means at the same time I'm getting out of it, I'm going to get out of it and I will get out of it. Like a big girl. The audacity of hakkama saama, being able to start something, makes the present, the intention and the promise possible. Nothing's gonna hurt your heart baby, except the missiles that tear humanity apart.

3.
Les plantes, pour la plupart d’entre elles, vivent ancrées dans le sol, à la différence des animaux et des êtres humains. J’ai entendu ça hier dans une émission sur France Culture. Les animaux, disait-on, peuvent s'en sortir en fuyant, pareil pour les humains. Les végétaux restent plantés là où ils sont. Ils font avec. À chaque fois, je voudrais me sauver mais je suis ici, enracinée. Ça fait de moi une belle plante.

Plants, for most of them, live anchored in the ground, unlike animals and human beings. I heard about it yesterday in a programme on France Culture. Animals, they said, can escape by running away, same for humans. Plants remain where they are. They deal with. Each time, I would like to flee away but I am here, rooted. Makes me a beautiful flower.

4.
ma liste d’attente n’est pas une wishlist
ce n’est pas non plus une liste de courses
qu’on rédige dans son cahier de devoirs
quand on apprend une langue étrangère
mais un répertoire de choses
à faire avant le départ
à savoir embrasser ma mère
plier tous mes pulls oversize
ranger mes playlists dans l’ordre
que je désire
[tout le monde sait que la musique
est une sorte de thérapie
surtout la voix de Léonard Cohen
et un peu les chansons de Bob Dylan]
c’est un inventaire de questions
qui s’achève sur celle que tu me poses

— Mais qu’est-ce que tu attends ?

my waiting list is not a 'wishlist'
nor is it a shopping list that you write in your notebook
when you learn a foreign language
but a list of things to do before I leave:
kiss my mother
fold all my oversized jumpers
arrange my playlists in the order I desire
(everyone knows that music
is a kind of therapy
especially the voice of Leonard Cohen
and a little Bob Dylan's songs)
it's an inventory of questions
ending with the one you're asking me

— But what are you waiting for?

5.
et tu sais
on prend l’avion
on dort dans le train
pour que ça fasse deux
je voyage
comme un amour lambda
fièvres, plumes
tout en vrille
on profite de l’éloignement
sans jamais se guetter
et pourtant
chambre, appartement, cabane
lac, ville et bois
font un

and you know
we take the plane
we sleep in the train
to make it two
I travel  
like any love
fevers, feathers
all in a spin
we take advantage of the distance
without ever keeping an eye on each other
and yet
room, apartment, hut
lake, town and woods
make one
 
6.
j’ai la voix cassée
je ne sais plus quoi dire
dois-je la réparer ?
je fais comment ?
toute une ressource en vrac :
brisures, éclats, désir d’un verbe plat
mais c’est avec une voix comme ça que
je m’autorise d’être absente
pour te raconter mon périple,
peu importent la pluie
les cordes tendues
et le froid
 
My voice is broken
don't know what to say
should I fix it?
how could I do?
a whole loose resource:
breaks, bursts, desire for a flat verb
but it's with such a voice
that I allow myself not to be here
to tell you about my voyage
rain or shine
the streched ropes
and the cold
 
7.
déneiger le silence
c'est comme si
j'avais passé ma vie à huis clos
et lui il me dit
je te donne tout à voir


unsnow the silence
it is as if I had spent my life behind closed doors
and he tells me
I will show you everything
 
8.
un chien marin se roule
dans la poussière
à défaut d’océan

le spring roll
au gîte des corps célestes

âmes sensibles, méfiez-vous
je suis toujours beaucoup
plus jeune que mes cheveux

le temps est en amont
parce que c’est par amour
qu’il s’agite

NB : this is not a literary translation = to be translated

a sailor dog rolls around
in the dust
in the absence of the ocean

the spring roll
at the lodge of celestial bodies

sensitive souls, beware
I'm still a lot
younger than my hair

time is ahead
because it's out by love
that he is agitated
 
9
La maladresse et l’autodérision, indispensables. C’est comme glisser sur une route couverte de glace en robe et talons, très en retard au premier rendez-vous amoureux. Avides de vivre, on bouscule les codes, se fait des films, et tout un spectacle. Toute sorte de situation comique, je suis à votre service. Jean qui rit, Jean qui pleure. J’oublie mes mots et je bégaie, oh la princesse du Sud de l’Estonie. Mais la fragilité de ces instants imparfaits où on rougit et trébuche nous remplit de liberté qui est la source de notre interminable jeunesse.

Clumsiness and self-mockery are essential. It's like sliding down an icy road, dressed up and wearing high heels, very late for your first date. Eager to live life to the full, we turn codes upside down, playing the cinema like a show. In every comic situation, I'm there, at your service. One's laugh, one's cry. I forget my words and stammer - oh, princess of Southern Estonia. But the fragility of these imperfect moments when we blush and stumble fills us with freedom, the source of our endless youth.

"Resonance of the Underearth: Decolonial Dialogues with the Sonic Spirits of Nature" is an immersive radio work that explores the hidden depths of the Earth through sound. It emphasizes a decolonial perspective on ecology, inviting listeners to hear the voices of nature's sonic spirits. This piece blends natural recordings with artificial intelligence and technological tools to create a multi-layered sonic experience. Compositions such as "Scram the Glacier," "Shynte Aanda," "Respira," "Forêt Millenary Araucaria," and "Ritus" reflect different elements of the Earth's life forces. By giving a voice to nature, the work challenges anthropocentric perspectives and seeks to reconnect humanity with the planet's deep ecological wisdom.

Artist bio:
Short Bio EN Natalia Rivera Riffo is a multidisciplinary artist-researcher born in 1982 in Temuco, Chile, whose deep connection with nature has profoundly influenced her journey. Living and working in Paris, she primarily explores sound arts, drawing, performance, and video. Her approach questions territorial and landscape imaginaries, relating geological, climatic, and biological materials while examining the impact of extractivist practices on the land. Her works, both poetic and metaphorical, play with materiality and the paradoxes of form. Natalia adopts a transdisciplinary approach, blending sound, writing, and performance, where she addresses themes such as instability, chaos, and the visceral dimension, combining

Website/social links
https://www.instagram.com/nato.rivera.riffo/
https://nataliariverariffo.com/
https://soundcloud.com/natalia_rivera_riffo
https://linktr.ee/natalia.rivera.riffo
https://nerr.bandcamp.com/track/ritus

"Resonance of the Underearth: Decolonial Dialogues with the Sonic Spirits of Nature" is an immersive radio work that explores the hidden depths of the Earth through sound. It emphasizes a decolonial perspective on ecology, inviting listeners to hear the voices of nature's sonic spirits. This piece blends natural recordings with artificial intelligence and technological tools to create a multi-layered sonic experience. Compositions such as "Scram the Glacier," "Shynte Aanda," "Respira," "Forêt Millenary Araucaria," and "Ritus" reflect different elements of the Earth's life forces. By giving a voice to nature, the work challenges anthropocentric perspectives and seeks to reconnect humanity with the planet's deep ecological wisdom.

Artist bio:
Short Bio EN Natalia Rivera Riffo is a multidisciplinary artist-researcher born in 1982 in Temuco, Chile, whose deep connection with nature has profoundly influenced her journey. Living and working in Paris, she primarily explores sound arts, drawing, performance, and video. Her approach questions territorial and landscape imaginaries, relating geological, climatic, and biological materials while examining the impact of extractivist practices on the land. Her works, both poetic and metaphorical, play with materiality and the paradoxes of form. Natalia adopts a transdisciplinary approach, blending sound, writing, and performance, where she addresses themes such as instability, chaos, and the visceral dimension, combining

Website/social links
https://www.instagram.com/nato.rivera.riffo/
https://nataliariverariffo.com/
https://soundcloud.com/natalia_rivera_riffo
https://linktr.ee/natalia.rivera.riffo
https://nerr.bandcamp.com/track/ritus