Sun 13

'limits of the diaphane' is conceived as something in between a radio play and overhearing your neighbours holding a baffling massed job interview. The piece is made up from recordings, from a series of one-to-one performances involving telepathy and tests of the five and country senses, overlaid so as to protect the identities of the 19 participants.    

Artist bio:  
Stephen Chase's work veers between formal process and following his nose, exploring, amongst other things, group interaction, acoustical phenomena, walking, improvisation and the passing of time. Co-conspirators and performing comrades have included Exaudi, Quatuor Bozzini, Philip Thomas, Choir Brevis, Music We’d Like to Hear, CoMA, Ryoko Akama, Patrick Farmer, Ross Parfitt, Mick Beck, Taku Sugimoto, piggle, Luke Poot, and Freaking Glamorous Teapot. He lives in northerly Scotland.    

Website/social links   
https://stephenchasemusic.blogspot.com
https://www.instagram.com/mon_se_taire_truc

Stormi, a word that in Italian carries the meaning of a flock of birds , is a journey along the abandoned railway tracks and through the disused tunnels of a former train line in southern Italy. Inside the tunnels, echoes intermingle with the sounds of the surrounding flora and fauna outside; these are looped and set in dialogue with the beating of artificial wings. The work becomes a kind of return to an earlier, nomadic human condition: the hunter gatherer moved by both desire and necessity to listen closely to the world, to understand it more deeply, and to attune to its shifting, mutable forces.
Stormi was used only once as a soundscape, during a performance by the same name, by the artist Valentina Furian. In this piece, she activated a series of zoomorphic sculptures filled with a mixture of wild plants, mushrooms, sulphurous water, elderflower syrup, vincotto, honey, and prosecco. This alchemical blend served to evoke a transitional state: one that oscillates between the human and the animal.    

Artist bio:  
Born: Latronico (PZ). He has lived and worked in Latronico since 2013, focusing on music, crafts, and visual arts. His artistic practice ranges from sculpture to design, photography, and video, with a particular focus on performances and musique concrète compositions. Giuseppe Giacoia often works under the pseudonym Gustaf Turmak.

Artist’s Statement:
Gustaf Turmak is a project that has accompanied my life for 30 years. It's not strictly an artistic project, but rather the need to be able to ritualise a creative act within myself. Gustaf Turmak has a thaumaturgic effect on me.

Website/social links   
https://www.instagram.com/gustafturmak/
https://soundcloud.com/gustafturmak

Non Serviam — by Mariel Teran & Fernando Godoy; mastered by Joy Moughanni — unfolds as a fragile act of transmission.

Field recordings of birds and landscapes do not function as backdrop but as active signal: a sounding ecology already in motion. Through analog synthesis, Andean traditional wind instruments, the air is pressurized — breath becomes carrier wave. Into this field enters Vicente Huidobro’s "Vaso":

“Ahora nadie canta…
El planeta vacío…
Está en mi garganta.”

The poem fragment is not recited as literature but emitted as disturbance — a voice carrying an extinguished star, a dead nightingale, a chest once swollen with verses now left desert. The throat becomes transmitter; the absent song becomes frequency.

For radio, this work inhabits the unstable zone between broadcast and disappearance. It asks what it means to declare Non Serviam in an era of vanishing songs — and whether transmission itself can resist silence.    

Artist bios:  
 
Mariel Terán is a Bolivian composer, sound artist, and engineer. Her practice explores the intersection of Andean musical heritage, contemporary composition, and experimental technology. Working with native wind instruments, electroacoustic media, and research-based processes, she creates performances, installations, and interdisciplinary projects presented internationally.
 
Fernando Godoy is a Chilean sound artist, curator, and director of Tsonami Arte Sonoro. His work explores sound and listening as spaces of cultural, sensory, and phenomenological relations. His practice includes installations, radio transmissions, concerts, listening actions, publications, and curatorial work, presented across Latin America, Europe, and North America.    

Website/social links   
https://www.instagram.com/moulitie/
https://www.instagram.com/qzzk_hx/

1 Deta – Afterimage (20:00)
2 Max Boone - In The Back Of My Mind (13:42)      
3 Dolores Mondo Stash - Before The Tenants Clear Their Throats  (8:35)
4 Douglas Taylor – Raincatcher (15:03)

1) Deta – Afterimage

In her live performance, Deta uses turntables to create dense sound textures through loops and analog artifacts. Elements such as noise, crackling, glitches, as well as drones and spontaneous rhythmic impulses, are woven into an organic fabric. The selection of records ranges from jazz, ambient, and world music to techno, although the original source does not necessarily remain recognizable as such.
The piece Afterimage was composed to celebrate the Art's Birthday live on radio. It was perfomed at ESC Media Art Gallery in Graz on the 17th of February 2026 and broadcasted live on Euroradio Ars Acustica Special Evening.
https://arsacustica.wordpress.com/2026/01/13/2026-1930-1950-esc-medien-kunst-labor-graz/    

Deta (Astrid Drechsler) is a radio producer, sound designer, and DJ. Astrid Drechsler studied telecommunications and media at the University of Applied Sciences St. Pölten. She has been working as a freelance production engineer for the Austrian public broadcasting station ORF. Since 2013 she has been producing for radio plays, radio features and films as a freelance sound engineer and sound designer. Between 2014 and 2020 she was an artistic assistant at the Chair of Experimental Radio at the Bauhaus-University Weimar. Since 2020 she has been a lecturer for sound design at the FH Joanneum in Graz, Austria    

https://soundcloud.com/deta-273928698
https://www.instagram.com/drechslereia/

2) Max Boone - In The Back Of My Mind  

In The Back Of My Mind is a work exploring the life and legacy of Brian Wilson and the Beach Boys.
The dichotomy between the band’s generally positive, joyful music and initially innocent public reputation, and the surprisingly tragic reality of their lives (especially that of their singular artistic director Brian) was a major influence behind the work. There is another aspect as well, that of memory. The composition represents the loss and distortion of memories with age. For several reasons, I decided to create my own Beach Boys ‘sample’ to use in this work. I did this by appropriating various assets (harmony, structure, melody, lyrics, instrumentation, recording techniques) from many Beach Boys songs from 1963 to 1965. The resulting work is a gradually evolving ambient soundscape, where moments of clarity emerge from the dense texture, only to ultimately slip away to into nothingness.    

Max Boone is a musician from Hertfordshire, England, specialising in composition and liturgical organ playing. He graduated with a Bachelor of Music from the Royal Northern College of Music, where he studied composition with Adam Gorb and Gary Carpenter. A focus on harmony and dense chords play a prominent role in his music, as well as satire and reference to clichés, along with a prominent sense of melancholy. A versatile composer, he is comfortable writing in many styles. He has written for a broad range of instruments and ensembles, including solo piano, choral music, saxophone ensemble and more.    

http://maxboone.co.uk/

3) Dolores Mondo Stash - Before The Tenants Clear Their Throats

This eight-minute ambient composition unfolds in the early hours of the morning, a live program of sound congestion, the biota of a tenement residence. The loud factory whistles take the shape of dissonant trumpets and squeeze themselves through the window cracks. Words can be heard, not spoken, but rather struck on old type machines; clocks are revived along with mechanical toys; reverbed hums sneak out through the hallways; steps, knocking on doors and boiling pots create arrhythmic patterns with an organic quality. The passing of time has arrived, thoughts are now measurable, the working day starts.      

Dolores Mondo Stash has been around since 2017 and it is the solo project of Romanian artist Dan Tecucianu. Since the beginning, Dolores Mondo Stash was a vessel for sound experimentation, from different recording techniques to different styles and influences; from industrial, noise to no-wave, psychedelic and ambient. The sound is shrouded in a lo-fi aesthetics – the tape loops being a recurrent sound theme and technique used throughout the album.

You can check out the latest release on the UK label, Cruel Nature Records' bandcamp site:
https://cruelnaturerecordings.bandcamp.com/album/dirt-collected-reminiscences-like-rivers-of-molasses    
https://doloresmondostash.bandcamp.com/
https://www.instagram.com/dolores_mondo_stash/

4) Douglas Taylor – Raincatcher
 
Raincatcher is 15-minute sound art work composed from field recordings of rain captured beneath improvised sound sculptures. The sound sculptures are made with metal and plastic found objects. It opens with a single recording and gradually additional recordings are introduced, each bringing its own spatial character and timbre. Layer by layer, these sounds accumulate, overlapping and interacting to form a dense, shifting cloud of rain. Eventually it returns to a single recording and the sound thins and clears like a cloud dissolving back into air.
Ultimately, Raincatcher is about transformation and impermanence. It explores how fleeting natural events—like rain—are shaped through contact with the human world, briefly exist through our attention, and then dissolve. It doesn’t seek to impose meaning or preserve experience, but instead offers listening as a quiet practice of presence within a transitory world.    

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

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

Composed in 2026, the piece recycles my own voice – recovered from an old poetic podcast about John Cage – subjecting it to electroacoustic processes that transform sound remnants into a landscape of silences, noises, and latent rhythms. The work explores the notions of surplus, discarding and the symbolic reuse of speech, converting vocal leftovers into new forms of listening and meaning. In a way, the result resembles a sound “frottage,” whose figures derive from the electronic manipulation of the harmonics present in my voice. The semantic aspect is relegated to a subliminal instance. In general, the piece is a kind of lo-fi ambient music, generated from fragments of a pre-recorded speech, with the Portuguese words rendered almost imperceptible. Despite the prevailing discreet and hypnotic atmosphere, the work contains a few contrasting and dramatic passages – brief noisy commutations. One might suspects a bored demiurge, fond of deviations.      

Artist bio:  
Roberto D'Ugo Junior is a brazilian artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism. One of the main features of his work is the ritualistic repetition of speech residues and fragments of field recordings. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at the Faculdade Cásper Líbero.    
 
https://www.instagram.com/d_ugo_minimal_radio/
https://soundcloud.com/user-48062083-271779683

FOLIAGE explores the evolving relationship between nature and technology through a one-hour soundscape. Starting from field recordings at a lakeside, familiar sounds of water, wind, and rustling leaves gradually transform, intertwining with subtle digital textures. The composition blurs the line between the organic and artificial, inviting listeners to experience a future acoustic environment where natural and synthetic elements coexist. Layers of sound shift between serenity and disruption, encouraging reflection on the fragility and resilience of ecosystems. By presenting familiar sounds in unexpected forms, FOLIAGE turns listening into an act of awareness, highlighting the delicate balance between preservation and transformation in the auditory world. Designed for radio transmission, the piece emphasizes immersive spatial experience within a stereo field, allowing the listener to perceive the unfolding soundscape as a living, evolving environment.    

Artist bio:  
Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, South Korea, Portugal, Peru, Thailand, Switzerland etc.).    

Website/social links  
Facebook: https://www.facebook.com/domenico.desimone.7587
Instagram: https://www.instagram.com/domenico.desimone.7587

“Psst!” is a four hour fluxus choir of over 1000 individually recorded voices.  During a 2025 installation at Nuit Blanche, Winnipeg, Savant Flaneur set up two large surrealist ears and people spoke, screamed, whispered, confessed, into the ears. Using Maxmsp, Savant Flaneur recorded each voice, slowed it down and pitch corrected, placed it into 8 voice banks, which slowly recorded over themselves throughout the evening.  This resultant recording is the documentation of the evening. Hard auto-tuned avant-garde Gregorian chant.  Each voice’s confession made beautiful and rectified through the communal experience of the choir.     
 
Artist bio:  Oft referred to as “chamber punk,” Savant Flaneur expels the dichotomy between western art  music and colloquial music scenes. Savant Flaneur is the idle virtuosi, ambivalent wunderkind,  aimless and gifted. Savant Flaneur is an experimental music collective working on Treaty 1  Territory.

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

1 Eki Shola Edwards - The Chosen We (3:14)
2 Hoyong Lee – Retune (7:51)  
3 Elya Verdal - YEMMA'S BREAD (12:00)
4 Ivor Kallin - Barra Soap Opera – 09 (11:30)

1) Eki Shola Edwards - The Chosen We

Logarithmic explosion of technology in this century
Our data floats the web free
Apple shutdown created a taste of calamity
From mankind disasters we try to flee
Hiding behind screens motivated by anonymity
We are the chosen ones to be
Reinforced through the indoctrination of hierarchy
Just one day we might wake up and collectively see ...
     
Musician, composer and physician, Eki Shola, is originally from London and has added both the San Francisco Bay Area and Japan as home bases. Her latest album 還 Kaeru, represents a captivating mix of traditional Japanese instrumentation with electro jazz elements. Kaeru, translating to “to return home,” delves into themes of belonging and self-identity, inspired by Eki Shola’s extensive global travels and personal reflections. Drawing from her encounters in Hiroshima, Lisbon, and Addis Ababa, Shola finds a deep resonance with Japan, a connection rooted in her initial visit two decades ago as a medical student. Collaborating with local talents and recording at Studio Tepemok, a former community hospital, Eki Shola intricately weaves cultural and personal narratives into her music.
Beyond genre confines, Eki Shola’s music encompasses jazz, electronica, soul, classical and more, reflecting her multifaceted artistry as a vocalist and pianist. As a practicing physician, she skillfully employs music as a means of healing, a role she’s embraced while sharing stages with luminaries like Dr. Donald Byrd, Steve Turre and Kitaro. Eki Shola will be releasing her second triple album in 2026.    

http://www.ekishola.com

2) Hoyong Lee – Retune

As an aural depiction of robot threatening human being in the future, this piece 'Retune' represents the encoded secret conversation of humanoids that have escaped human control and refuse to communicate with humans. Especially focusing on this narrative arc of regaining the power of our control of the future against AI being, this piece also highlights the human’s struggle to reset and 'retune' the balanced relationship between 'real' human and ‘hyper real’ humanoid as a technological being created by human.Many recent Sci-Fi especially discusses the ethical and complexity of human-AI relationships, the imagined soundscape of a unified Korea exploring the coexistence with humanoids. The ultimate goal of this work aims to explore the chance of thinking about possibilities and responsibilities of acousmatic work as foreshadowing and rebuilding of the future scenarios in healthy coexistence between AI and human being beyond the boundary of ‘real human family’ unity through sonic metaphor.    

Hoyong Lee (South Korea) is a composer, sound artist and digital creator. His pieces have been presented at world-renowned electro-acoustic music conferences & festivals in USA, Europe, Canada over 15 countries. He was an Award of Distinction Winner in Matera Intermedia Festival 2016 in Italy and he was first -place winner in XRAY.FM Radio (Portland, USA) Storytelling Contest Prize (2017) as an experimental sound storyteller, the Silver Prize Winner in Max Bruch International Music Competition 2025 for original composition. He was also nominated in Prix Luigi Russolo Awards 2025 in Italy as a shortlisted composer.    

http://www.youtube.com/@hoyonglee9191
https://soundcloud.com/hnext5

3) Elya Verdal - YEMMA'S BREAD  
(Language: French & Tamazight)
 
In Amazigh culture, bread is not just food — it replaces cutlery, scoops the sauce, feeds the family. Whoever makes the bread holds a quiet power.
Yemma, 75, is the only one in her family who still knows how. Her daughter Elya, a psychotherapist and artist from the Amazigh diaspora, records her mother's hands at work: water poured into flour, dough kneaded until breathless, the ancient wicker basket, the palm measuring salt.
Then Yemma reveals something unexpected: each time she makes bread, she thinks of her mother and grandmother. She fears being forgotten — because her daughters don't knead.
Yemma's Bread is a sensory documentary where gestures become music and the body holds memory that words cannot carry. A meditation on intergenerational transmission, migration, and the knowledge stored in women's hands.    
 
Elya Verdal is a Brussels-based poet, sound artist and Gestalt psychotherapist of Amazigh (Morocco) origin. Her work explores intergenerational transmission, diaspora memory, and the body as archive. She published her first poetry collection L'amour en creux (Editions Bleu d'Encre, 2023) and has performed across Belgium and France. She curates Chair Poétique, a monthly poetry series in Brussels, and is artistic director of Festival Matrimiel (2026), celebrating elderly women's ancestral knowledge. Mon Corps Sait is her first sound documentary, blending intimate field recording with poetic narration to explore how women's hands carry memory that words cannot transmit. 
   
http://www.elya-verdal.com
https://www.instagram.com/elyaverdal?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

4) Ivor Kallin - Barra Soap Opera – 09
 
The work consists of 18 pieces, ranging from ~2 to ~12mins, mainly recorded on beaches on the Isle of Barra, featuring improvised vocal sounds with the sea or path as soundscape. There are also a couple of tracks recorded in Edinburgh on a dampened piano.
Artist bio:  I play improvised music using a viola with the London Improvisers Orchestra (and previously with Barrel), bass with the Glowering Figs (and previously with Ya Basta) and electric violina with Electrio. I've been presenting a radio show on Resonance FM on and off for 20 years or so, under the guise of Ambrosia Rasputin.
The Ambrosia Rasputin Show by Resonance FM | Mixcloud

https://scatterarchive.bandcamp.com/album/in-barra-sing

1 Rui Almeida - Bone Foam (3:47)
2 Shane Fosse - snow angel (5:02)
3 Ushara Dilrukshan - To Dunhinda Falls (8:26)
4 Vincent Eoppolo – Fragmentation (4:48)
5 Paul Collins - Radio Spots - La Vie d'Owsley (1:00)

1) Rui Almeida - Bone Foam 

Bone Foam is a sound piece originally composed for a video work with the same title by the photographer Maria Oliveira, to be presented at Night of the Year 2025 – Projections at Rencontres d'Arles 2025.
The piece was created in direct response to the images, building a close relationship between sound and visual rhythm. I used non-musical sound sources and toy instruments, shaping them into subtle textures and shifting layers.
Although conceived for this specific context, I feel that Bone Foam can also stand on its own, existing as an independent sonic work beyond the images.    

Rui Almeida currently resides in Guimarães, Portugal. In his work, he focuses on the exploration of sound, primarily drawing from non-musical sources—whether through field recordings, the creation of interactive environments, or improvisation with objects.
He has participated in projects connected to the performing arts and video, and his music was featured as the soundtrack for a documentary.
His work is signed under the aliases MUfi.re and massa última.    

https://massaultima.bandcamp.com/
https://tomorrowtodaywillbeyesterday.wordpress.com/
https://www.instagram.com/ruimsa/

2) Shane Fosse - snow angel

'Snow angel' discusses othering that begins at home; a queerphobic caretaker is addressed somewhat ambiguously in the speaker's reflections. While it borders on spoken word, the piece is best described as a recorded stream of consciousness narrative that has been distorted and scored for the purpose of protecting its vulnerability. 'snow angel' is part of a larger series of sound works titled Rebuttals, which explores how audio and its layering can be used to insulate the plainest truth.      

Shane Fosse is a multidisciplinary artist from Dallas, Texas. After receiving their BS in Neuroscience from Depaul University in 2020, Fosse embraced poetry and drag as a way to process times of tumultuous change. As a writer and performer of many years prior, their projects exist as sustained exercises in observation, memory, and emotional honesty. These efforts are currently focused upon producing a series of sound artworks and their debut collection of poems, Bible Belt. Their work has received support from many organizations, including the Illinois Arts Council, Luminarts Cultural Foundation, and the Sundress Academy of the Arts.
     
shanefosse.com

3) Ushara Dilrukshan - To Dunhinda Falls

This audio piece is structured around a continuous ten-minute field recording captured during a journey with my mother to Dunhinda Falls in Sri Lanka. The unedited diegetic sound—ambient voices, vendors, monsoon rain, and passing conversation—forms the sonic foundation of the work.

Electronic instrumentation is layered into the recording, gradually merging with the environmental soundscape. A recurring motif in Für Elise by Ludwig van Beethoven emerges both as composed material and as sound encountered in the recorded environment, blurring the boundaries between found and constructed audio.

Subtitled dialogue appears in partial translation, foregrounding gaps in language and memory. The piece explores place, intergenerational connection, and the poetics of field recording as an archive.    

Ushara Dilrukshan is a London-based, Sri Lankan multi-media performance artist. Her works tackle ideas of cultural identity, womanhood and trauma explored through narratives. The work aims to open up questions and start discussions about experiences of similar narratives and journeys through life. As an interdisciplinary artist, sound and performance are a centralised form. Utilising poetry, field recordings, body and soul; further explored through video installation, publication and mutated operatics, she offers an insight into these themes. Current Soprano Artist in Residence at Brompton Cemetery. Current recipient of Sound and Music, In Motion programme.     
https://usharadilrukshan.cargo.site/
https://www.instagram.com/ushara_x/

4) Vincent Eoppolo – Fragmentation
 
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://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

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

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

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

FOLIAGE explores the evolving relationship between nature and technology through a one-hour soundscape. Starting from field recordings at a lakeside, familiar sounds of water, wind, and rustling leaves gradually transform, intertwining with subtle digital textures. The composition blurs the line between the organic and artificial, inviting listeners to experience a future acoustic environment where natural and synthetic elements coexist. Layers of sound shift between serenity and disruption, encouraging reflection on the fragility and resilience of ecosystems. By presenting familiar sounds in unexpected forms, FOLIAGE turns listening into an act of awareness, highlighting the delicate balance between preservation and transformation in the auditory world. Designed for radio transmission, the piece emphasizes immersive spatial experience within a stereo field, allowing the listener to perceive the unfolding soundscape as a living, evolving environment.    

Artist bio:  
Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, South Korea, Portugal, Peru, Thailand, Switzerland etc.).    

Website/social links  
Facebook: https://www.facebook.com/domenico.desimone.7587
Instagram: https://www.instagram.com/domenico.desimone.7587

Spruce Speaks Before It Breaks is an audio essay that tunes into the environmental, historical and ideological echoes of the Thuringian Forest in the East of Germany. It listens with trees and bark beetles, with foresters and culture women, with myths and ideologies.

The Thuringian Forest is an ancient grown forest, estimated to be 10,000 years old. In the last two centuries of heightened industrialisation, much of the ancient forest has been replanted with a monoculture of fast-growing, straight, spruce trees. This monoculture forest has struggled to adapt to hotter and drier climatic conditions, with the weakened trees being devastated by an outbreak of bark beetles (Ips typographus). To prevent the spread of the bark beetle, the forest management answers with extensive clear-cuts to remove the supposedly “infected” trees.
The audio essay is part of the PhD research project “The Forest Echoes Back — Receiving and Transmitting Forest Conversations Through an Ecology of Listening” and produced in the framework of TRANSMIT at LUCA School of Arts.

Credits:
Research, text, field recording, interviews and editing: Nele Möller
Sound editing and design: Laszlo Umbreit
Narrator: Caroline Daish
Charlemagne: Christophe Piette
Carl von Carlowitz: Guy Livingston
Karl Marx: Will Holder
Jakob Grimm: Barry Fitzgerald
Berthold Brecht: Colm Mac Aoidh
Voices of Ilmenau: Heike Bartsch, Andi Geyer, Michael Möller, Ina Stabernack, Lüder Stabernack, Ute Wolf
Bach Etude 1010 Prelude played by Ukko Perttilä
Waldlament, sung by the chamber choir of the TU Ilmenau lead by Sophia
Müller, music written by Bergur Anderson, notation by Gunnar Gunsteinson, text by Nele Möller, recorded together with the HSF Studentradio Ilmenau
Äne Waldhackerschen, Poem recited by Ruth Böhme, with thanks to Günther Lacroix and the MiniPrint Verlag Ilmenau
Interviews with Rosi Leberer and Matthias Wetzel
Thanks to the City Archive of Ilmenau and the Archive of the Forestry County of Frauenwald, as well as to Wendy Morris and LUCA School of Arts Brussels

Artist bio:  
Nele Möller is a Brussels-based artist and researcher, working primarily in sound, performance and writing. Currently she is working towards a PhD in the Arts at KU Leuven and LUCA Brussels. Her research project, The Forest Echoes Back, oscillates around the Thuringian Forest in Germany, which is severely impacted by monoculture plantings, climate change, and bark beetle outbreaks, exploring how to retrace and react to these ongoing changes using field recording, live audio streaming, listening, and mimicry as the central methodologies.    

Website/social links 
https://nelemoeller.info/ 
@nele___moeller

During a residency in Matsudo, Japan I came across a stone sculpture designating a wharf on the Edo river as one of the 100 soundscapes of Japan. The sculpture had holes bored through for directional listening, so I brought my stereo mics with me and spent a day recording. I contemplated how a soundscape gets preserved; did the sound in 2026 relate to the sound when it was first designated as a soundscape in 1996? The next day I brought my synthesizer with me and recorded a performance with the sculpture. In the open you wonder who else is performing with you and how to make space for them. I thank the runners, cyclists, the river, the birds, the golfers and baseball team, the railways and Mount Fuji 150km away but in sight for performing with me. And I thank Paradise Air for hosting me     Artist bio:   Jon Davies (b. 1988) is a musician, sound artist, improvisor and performance artist, producing solo works as Kepla since 2014. He has released two solo albums on Chinabot & Alien Jams, three collaborative albums on PTP and Entr'acte, and composed soundtracks for installation pieces and live performances. His collaborators include DeForrest Brown, Jr. (aka Speaker Music), Nathan Jones, Ling, Farhood, Dialect, JC Leisure, Jade Montserrat and Sidsel Meineche Hansen among others. He is also part of improvisation multimedia trio LICK, with Aous Hamoud and Paula Kolar, formed from the radio show Lean In Closer on Melodic Distraction.     Website/social links   kepla.hotglue.me instagram.com/keplamusic

“In a sense, I felt like I was forced to leave, especially after building myself a foundation of friends and connections in Lebanon,” said Ezzedine.
Beirut Today, Sandra Abdelbaki - November 8, 2021

Sunday lunches with the family have turned into whatsapp video calls, with every member in a different location. Dinner gatherings with friends have turned into photo exchanges of longing, where we begin to make plans to meet in Lebanon or somewhere that doesn’t require a visa.

As immigration continues to grow in Lebanon, I begin to wonder what will the future look like? Will the country find its way back or more importantly will the people find their way back to the country? The notion of a collective future becomes challenging to imagine as the exodus continues to grow. The sonic journey is dedicated to the mass number of people around the globe that have had to leave their home, yet continue to find themselves drifting between two places and spaces. “And who are we now?” is an ongoing research, it continues to shift and transform itself, its growth is affected by personal and global upheavals. The performance in itself is an act of mourning, inviting listeners to take part in this collective moment.

Live recording in Morphine Raum by Rabih Beaini, January 16, 2023
 
Biography:

Based between Beirut and Berlin, Nour Sokhon’s practice draws on archival methods and the activation of inanimate matter as living narrators, taking the form of sound and music pieces, performances, interactive installations, and moving-image works. She earned a master’s degree of Design in Sound for the Moving Image from The Glasgow School of Art. She received the Emerging Artist Prize from the Sursock Museum in 2019, for a moving image piece entitled ‘Revisiting: Hold Your Breath’ and was awarded the Sound Art 2020 scholarship by Lower Saxony and the University of Fine Arts in يب†Braunschweig. In the fall of 2024 Beirut Birds / ط†ور†روت†Sokhon’s debut solo album, was digitally released on aural conduct and was produced with the support of the Arab Fund for Arts and Culture – AFAC.

She has exhibited her artwork internationally and performed in various sound/ music festivals including This Is Not Lebanon (2021), Punkt Festival (2023), Gaudeamus Festival (2023), United in Grief (2024), Vorspiel (2024), the Biennale d’Aix (2024), Salam Music (2025), Mapping Sounds in Exile (2025), IFFI (2025), Avant Art Festival Berlin (2025), Expressions D’elles #5 (2026), Sonic Acts (2026), Sauna Festival: Saturation (2026), Art Explora (2026) and Lips #3 - Souffle (2026). Her work has also been shown at institutions such as Spatial Sound Institute, Beirut Art Center, SAVVY Contemporary, Kunstraum Kreuzberg/Bethanien, Kunsthaus Hamburg, Silent Green, Henie Onstad Kunstsenter, GMEM, Frankfurt Lab, Künstlerhaus Mousonturm, Kampnagel Hamburg, neue Gesellschaft für bildende Kunst (nGbK) and La Condition Publique.

https://www.noursokhon.com/

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Lucavsala III  (1:29)
2) Cameron Naylor - Within the Whispering Gallery  (9:02)
3) Domenico De Simone - CHANCE (7:10)  

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Lucavsala III   

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

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

Whispering gallery refers to the way that sound travels close to a curved wall, creating an artificial sense of intimacy in otherwise expansive rooms. I wanted to capture and represent this phenomenon, using the juxtaposition of the distant and intimate in a large venue as an exploration of two contrasting spatial perspectives, and how they form in quiet public settings to create scenes of quietude and chaos.    

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

cameronnaylor.com
 
3) Domenico De Simone - CHANCE    

CHANCE begins in apparent innocence: fragments of recorded sound move with the freedom of improvisation, as if unaware of structure or consequence. This fragile play is gradually interrupted. Intrusive textures enter, destabilising the field, displacing what came before.
The piece does not resolve this conflict. Instead, it sustains a volatile exchange in which sounds construct and dismantle one another. Forms emerge only to collapse; tensions accumulate, then scatter. What seems playful becomes precarious. What seems destructive generates new openings.
Rather than illustrating a concept, CHANCE stages a process: a shifting sonic environment where balance is temporary and unpredictability is central. In the context of radio transmission, this instability becomes physical — attention is pulled, redirected, unsettled.
CHANCE invites listening as an encounter with flux, where structure and disruption coexist without hierarchy, and meaning arises from their continual collision.    

Artist bio:  Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, South Korea, Portugal, Peru, Thailand, Switzerland etc.).    

https://www.facebook.com/domenico.desimone.7587 
https://www.instagram.com/domenico.desimone.7587

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

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

Biography:

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

https://radiophrenia.scot/

Amble and Bosko explore what burdens we carry as disabled people. Bosko picks up burdens in the form of stones, weighting down his body and transforming his movement and physicality. We recorded Bosko moving rocks on a beach, dragging them to the shore. Using body sensors, Bosko's movement blends a series of audio interviews and videos on the theme of burden, weight, disability and mental health.    
Artist bio:  
Amble is a composer and sound artist who uses disability theory, body sensor technology, spoken word interviews and electronics to create unique sound works. She is interested in the interface between the disabled body and the exterior world, and has explored this through numerous sound walks using her wheelchair. Amble is a Royal Philharmonic Society Composer 24/25, recently won a Special Commendation Daphne Oram Award for her work in electronic music, and was selected as Scotland’s representative for the International Society Contemporary Music Festival 2024.    

Website/social links  http://www.ambleskuse.net

1 Gustavo Guzmán - De qué color es el--- (4:03)    
2 Léna Hiriartborde – Spirole (15:27)      
3 Adam McNeil - Discipline/Dysfunction (14:26 )  
4 Emilie Mousset - Vert western (9:17)
5 Lily Tiger T Wells - Gweirgloddio (Meadow Maker) (16:00)        

1) Gustavo Guzmán - De qué color es el---

"De qué color es el---" (What color is the---) is a sonic poem created with Chilean poet María Paz Valdebenito and Bolivian poet Valeria Sandi. Together, we forged a hybrid creative method, blending music technology and compositional techniques with the fluid cadence of lyrical voice. Their recorded voices recite a poem about intimate relationships with the sea—one shaped by Chile’s history of tsunamis, the other by Bolivia’s landlocked distance. That contrast informs an acousmatic composition made entirely from their processed voices that weaves coastal memory with inland absence, and folds in ecological and climatic shifts: warming oceans, altered currents, and rising seas that redraw shorelines and cultural ties. The result is a layered, evocative soundscape where technology amplifies lived vulnerability and evolving environmental narratives.    

Gustavo Guzmán is a composer, artist, and researcher with an extensive transdisciplinary background. His sustained, research-driven trajectory underscores his long term commitment to using art and technology as tools for ecological resilience and social transformation through the lens of gesture. Professionally, Gustavo Guzmán has composed and produced for film, video, and theatre, and toured extensively across Mexico, presenting solo and collaborative sound poetry at large scale venues. Recent highlights include experimental music performances for Radio UNAM (2022-2023), research on situated experimental musical interfaces for the Global South (NIME LATAM 2025), and eco-acoustic collaborations with Tsonami sound-art collective (2025), among others.    

http://gustavoguzmancom.wordpress.com/

2) Léna Hiriartborde – Spirole

Spirole is the result of a week-long residency in the Lot region of France, an analog heart of modulated cassettes mixed live on variable-speed tape recorders, played in the hollow of a small quarry. It unfolds as a succession of continuous lo-fi sounds punctuated by fragments of memories, snippets of poems, improvised instruments, stray insects, voices, scratches, breaths.      

Léna Hiriartborde is a multidisciplinary artist based in Marseille (FR).
Her research employs all kinds of strategies that invite greater attention to spaces and their subtleties. Inspired by her observation of the living world and its possible perceptions, she's interested in the notions of interdependence, inter-species collaboration, animism. The pieces she produces are often developed contextually. They combine sound, poetry, performance, walking, writing, drawing, and video. They are immersive and conceived as conversations with the environments in which they take place.    

http://lenahiriartborde.net/
https://www.instagram.com/lenahiriartborde/

3) Adam McNeil - Discipline/Dysfunction
 
An experimental audio piece inspired by the writings of  Polish psychologist Kazimierz Dąbrowski and Teresa de Cartagena, a 15th-century mystic, writer, and nun from medieval Castile.      
Adam McNeil is a sound artist whose work delves into Christianity, psychogeography, and the transformative power of sound.
Interested in the intersection of mental health, 'spirituality', and the everyday, their practice explores how sound-making can serve as a tool for embracing uncertainty. Using voice, layered samples, audio textures, and acoustic instruments, Adam creates evocative soundscapes that examine alienation, the mundane, and the effects of post-traumatic Protestantism on identity and self-perception.    
@adammcneilll
 
4) Emilie Mousset - Vert western
   
Starting with recordings of plants, working with the material as if they were stones, percussion instruments, leafy grains... and ending up dreaming up images of a western set in the forest.
This is the first track on the album Vert western, released on the Tsuku Boshi label in March 2025.    

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, hosp Vert western    
itals, prisons, etc.).      

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

5) Lily Tiger T Wells - Gweirgloddio (Meadow Maker)        

Gweirgloddio / Meadow Maker is the accompanying sound piece to a sculptural installation displayed at the National Botanic Gardens of Wales in Carmarthenshire. Working directly with the remnants of this year’s meadow cut, the installation looks at the value of human management in preserving biodiverse landscapes. Drawing on conversations with conservationists, scientists, farmers, and gardeners, the work challenges dominant narratives that frame human intervention as inherently damaging to the natural world. Instead, it positions haymaking as a collaborative process between people and landscape that has sustained species-rich grasslands for millennia.    

Lily Tiger is an artist- filmmaker based in and from West Wales. Her work is a research driven exploration of places and people, using expanded documentary practices as a vessel to engage with archives, everyday stories and local environments. Her work spans across installation, photography, sound and analogue filmmaking, with a particular curiosity in folk traditions and ecological practices.    

@lilbobagginz
lilytiger.site

In 2026 our public engagement team worked with seven different community groups over a period of eight months. This year we expanded our outreach beyond just Glasgow to include groups in the Southern Highlands and the Outer Hebrides.
 
Through a series of tailored workshops the participants created their own sound works and radio programmes. You can find more details on the groups and listen to the works they produced here: https://radiophrenia.scot/workshops/

Some of the works created during these workshops will be broadcast as part of this special afternoon listening event.

Our Workshop programme is supported by Creative Scotland.
 
At 2.25pm today:
A wobbly-sounding piano falls into the pages of a book, which morphs into an empty drinks can, which turns into a kettle. Or is it a drum kit? Is that rain, a radio, sticky tape, or tin foil? What’s behind that door? What’s down that drain? How do you get a lion out of a cardboard box? And, where did the bee come from?!
Radiophrenia spent a week in August 2026 with a group of sound-obsessed, creative young people at SWAMP. Equipped only with microphones, headphones, a sense of curiosity and wonder, we set off around the building on Glasgow’s Brockburn Road. This is what we found…
‘SWAMP: An Interrupted Tour’ is created and recorded by Hadiya, Lewis, Nathan and Ross – with thanks to Rosie, Andy, Keith and all at SWAMP.
Facilitation, production and sound design by Alan Bryden and Steve Urquhart.
SWAMP (the South West Arts & Music Project) is a Greater Pollok area based community development trust that uses the arts to bring people together, through a range of free activities including craft sessions, music groups and digital media classes for all ages. SWAMP offers a variety of services that promote community wellbeing.
https://sites.google.com/view/swampglasgow/home/

Coming up at 2.50pm this afternoon: a new audio piece from Creative Recovery Inverclyde – a participatory arts initiative based within Your Voice’s Lived Experience Network, in Greenock.
‘Welcome to Greenock, Paradise on Earth’ considers the arrival of tourist ships at Greenock’s cruise terminal. What happens when hundreds of visitors suddenly arrive in the town?
Mixing documentary and fiction, we follow tourists as they find their way around Greenock, meeting some of the people they might come across along the way, the fisherman, the Wyllieum shop girl, the buskers, the shady local and the good Samaritan.
Seen through the eyes of visitors, our piece asks what Greenock looks like when you’re seeing it for the first time… and, what happens when tourists and local life collide.
Credits: Billy, Callum, Clyde Fisherman, Dana, Dawn, German Tourist, Levi, Martita, Max, Paul, Pinja.
Facilitated and shaped with the help of artist Elina Bry.
https://www.yourvoice.org.uk/creative-recovery-inverclyde

In 2026 our public engagement team worked with seven different community groups over a period of eight months. This year we expanded our outreach beyond just Glasgow to include groups in the Southern Highlands and the Outer Hebrides.
 
Through a series of tailored workshops the participants created their own sound works and radio programmes. You can find more details on the groups and listen to the works they produced here: https://radiophrenia.scot/workshops/

Some of the works created during these workshops will be broadcast as part of this special afternoon listening event.

Our Workshop programme is supported by Creative Scotland.
 
“We’re going on a train ride… hold on tight!”
This afternoon at 3.20pm: ‘Sounds of the Underground’. (Not the Girls Aloud song – this is Radiophrenia.)
If you could take a Glasgow subway carriage to literally anywhere in the world – or out of it – where would you go?
This question was the starting point for a unique collaboration between Radiophrenia and Beatroute Arts, engaging dozens of children in creative sound recording, radio art and music-making, during Summer 2026.
We wanted to make art themed around Beatroute’s beloved 117 subway carriage, one of SPT’s decommissioned fleet which now resides outside Beatroute’s premises in North East Glasgow.
We visited Riverside (Glasgow’s technology and transport museum) to record some of their sounds and noises, then returned to Beatroute to create some of our own.
We came up with our own six imaginary “stops”, then created music and sounds to represent each calling point. We recorded our own train announcements, designed our own subway carriage doors, and put on a special show for our friends and families. This has become Beatroute’s own audio artwork for Radiophrenia.
Come with us in our subway carriage, as we visit a magical forest, another planet, the past, and even the future…
Facilitation, production and sound design by Ros Fraser and Steve Urquhart, with music facilitation by Zoe Graham.
Beatroute Arts is a community-led charity offering free, creative opportunities for young people from Balornock, Barmulloch and across the Springburn/Robroyston areas of North East Glasgow. Activities include music tuition (drums, guitar, piano, singing, ukulele, violin, cello) and music workshops (including musicianship, ensemble playing, songwriting, sound production and much more).
https://www.beatroutearts.com/
https://ros-fraser.com/
https://listentosteve.com/
https://zoegrahammusic.com/

“Sound… it keeps me safe. It keeps me entertained. And, it’s a blessing…”
At 3.45pm today, we present one of four episodes from ‘Active Listening’. This is a series of sonic adventures, co-designed and co-produced with Bonnie Boots – the female-led offshoot of the Glasgow-based charity Boots & Beards – as part of Radiophrenia’s Public Engagement programme, supported by Glasgow Life’s Arts Development Scheme.
Recorded and created over several months through a bespoke series of creative workshops, each episode invites the listener to become immersed in a distinct sound world, to take time to appreciate the beauty and diversity to be found therein, and to (re)consider their own roles as active citizens in their local and surrounding areas.
‘Active Listening’ promotes deeper engagement with sound, both natural and constructed, and with music, rhythm, and poetry. Women who took part say they feel safer and more empowered to reclaim space from which they had felt excluded, and that they feel able to give each other the confidence to be creative, to speak openly, and to play with sound, in ways they hadn’t experienced previously.
Boots & Beards is a Scots Asian-run charity, working with under-represented communities in Glasgow to provide access to the great outdoors, exploring the hills, and in doing so, improving physical and mental health. Founded in 2016, the organisation’s initial purpose was to bring men together, but has since expanded to provide activities for women, children and whole families, both outdoors and indoors.
Facilitation, production, sound design, and cooking, by Riah Naief (Listen Gallery) and Flora Zajicek for Radiophrenia.
Created with the support of Glasgow Life’s Arts Development Scheme.
https://www.instagram.com/bootsandbeards
https://www.instagram.com/listengallery/
https://www.instagram.com/florazajicek/
https://www.facebook.com/bootsandbeards/
https://bootsandbeards.co.uk/activities/bonnie-boots
https://www.listengallery.co.uk/
https://www.florazajicek.co.uk/

 

In 2026 our public engagement team worked with seven different community groups over a period of eight months. This year we expanded our outreach beyond just Glasgow to include groups in the Southern Highlands and the Outer Hebrides.
 
Through a series of tailored workshops the participants created their own sound works and radio programmes. You can find more details on the groups and listen to the works they produced here: https://radiophrenia.scot/workshops/

Some of the works created during these workshops will be broadcast as part of this special afternoon listening event.

Our Workshop programme is supported by Creative Scotland.
 
Coming up at 4.00pm today: “Farm Concrète: An exploration of the sounds of Macaulay Farm!”
Taking inspiration from musique concrète, students from Macaulay College on the Isle of Lewis lead us on a sonic tour of the farm, recording a varied and rich collection of sounds from across the site including gates closing, sawing, feeding animals, fires, machinery and animal calls.
These recordings became the raw material for a musique concrète-inspired composition, transforming the everyday sounds of the farm into a new musical landscape.
We also held live sessions where students selected objects from the farm and transformed them into instruments. Taking turns conducting the group, the students created live compositions and performances from their voices, and the sounds and objects around them.
This project is a celebration of Macaulay College through listening, created and recorded by the students and staff of Macaulay College, especially for Radiophrenia.
Workshop facilitation and production by Robbie and Alicia at HAAR – with thanks to all at Macaulay College.
Macaulay College was founded in 2010 and is located on Macaulay Farm just outside Stornoway on the Isle of Lewis. The farm extends to 120 acres and is home to goats, sheep, donkeys, chickens and more, along with polytunnels, vegetable plots and a number of workshop areas, project spaces and relaxation areas. The college provides people with additional social and educational requirements with a programme of activities that encourages them to have meaningful and fulfilling working and social lives whilst achieving their full potential and reaching person specific targets.
https://www.instagram.com/macaulaycollege/
https://www.facebook.com/macaulaycollege
https://www.macaulaycollege.com
https://www.haarprojects.org/
https://robbiethomson.co.uk/
https://www.aliciamatthews.co.uk/

At 4.20pm this afternoon: Na Clann à Arnol – “The Strange Case of The Arnol Otter”.
In 2025, more than 80 chickens mysteriously disappeared from the village of Arnol on the West Side of the Isle of Lewis. Rumours quickly spread that an otter had been prowling the streets at night and taking chickens. Many were in disbelief – could a sweet sea otter really decimate almost the entire population of chickens from one village? The speculation began – maybe it was a polecat, a hungry neighbour – or something even stranger?
The children of Arnol put on their detective hats and set out to solve the case, creating a playful radio drama inspired by the mystery. Moving between Gaelic and English, ‘The Strange Case of The Arnol Otter’ is a story of chickens, rumours, clues, village life and an investigation into what really happened to all those missing birds…
Created and recorded by Ayla, Everley, Grace, Maia, Cora and Sula, with thanks to Arnol Gateway, David, Peter and the villagers of Arnol. Workshop facilitation and production by Robbie and Alicia at HAAR.
This piece is dedicated to all the chickens taken by the Arnol Otter.
https://www.haarprojects.org/
https://robbiethomson.co.uk/
https://www.aliciamatthews.co.uk/

‘Liquid Hypnosis’ is a work that blends images, poetry, memories, and soundscapes.
"Liquid Hypnosis" is an attempt to create a multi-layered sound work, where soundscapes are interwoven, taking the listener through imaginary lands, punctuated by brief recitations of poems, verses and fictional memories, like dystopian stories.
This work is a model of a genre in progress, where other stories that share sound textures and poetic counterpoint can be included.
The sound material consists of electromagnetic recordings made with a pair of coil pickup microphones, recorded on two tracks simultaneously, capturing various domestic electromagnetic phenomena as sound events.
Other sound layers or textures are produced by modular synthesis, preferably at low frequency, under simple and repetitive sequences.
The sounds and voices were recorded on the same day.
     
Artist bios:  
 
Juan Guillermo Dumay (Memo Dumay, Viridianos, el gran chufle, Panico) is an artist, born in 1975 in Santiago, Chile, he lives in Paris, France. He produces site-specific sound works using different materials, such as multi-channel pieces and kaleidoscopic improvisations combining electronic music, amplified sounds and raw noise. 
 
Natalia Rivera Riffo (born in Valdivia, Chile in 1982) is a multidisciplinary contemporary artist : Visual Artist and sculpture and sound artist, she is based in Paris, France.      

Website/social links   
https://memodumay.tumblr.com/
https://www.instagram.com/mdemaudit/
https://www.gritoglaciar.cl/
https://www.instagram.com/nato.rivera.riffo/
https://juanguillermodumay.bandcamp.com/
 
Hipnosis liquida, un compendio de senales sonoras y poemas

poem #1
cóncavo inverso
un eco de vacío
ido, perdido

entre rocas erosionadas por el viento
una tras otra, otra tras una
dibujando el contorno liquido del tiempo

reverse concave
an echo of emptiness
gone, lost
among rocks eroded by the wind
one after another, another after one
drawing the liquid contours of time

poem #2
viaje de expansión
en un eje de rotación
un instante suspendido
de apnea visceral, espacial
contradicción involuntaria
te escapas

expansion journey
on an axis of rotation
a suspended moment
of visceral, spatial apnoea
involuntary contradiction
you escape

story #1
The story of the lost cassette tape on which the sound of the eclipse had been recorded "While in northern Chile, near the town of Putre in Region I, I was there to witness the eclipse in 1994. At the site, I managed to record the ambient sound during the eclipse, located in a desert area far from towns and roads, with minimal environmental pollution. On the way back, the cassette was forgotten along with other things in a metal box when we had to run to catch a truck that would take us back to Arica" The cassette was found in 2046 by accident when a meteor shower struck the area. The audio was transferred by experts from the ambient sound service at the University of Tarapaca. The cassette was in good condition despite the magnetic discharge from the meteorites and the passage of time.

poem #3
contemplación
disolviéndose, disociándose
en la linea vertical del horizonte
un contorno erosionado del tiempo
el aire persiste

contemplation
dissolving, dissociating
on the vertical line of the horizon
an contour eroded by time
the air persists

poem #4
un eco de un sueño
atrapado dentro de otro sueno
en la cavidad mas onda de la atmósfera
donde el viento entra con una luz
y el vacío es solo un espejo

an echo of a dream
trapped inside another dream
in the deepest cavity of the atmosphere
where the wind enters with light
and the void is just a mirror

story #2
sounds from the future, a new religion A young woman participates in a sound art workshop in Valparaiso, Chile, and experimenting with very low frequency (VLF) signals, she discovers a radio broadcast from the future announcing a planetary cataclysm that will occur in 10 years. She unwittingly establishes a religion. The so-called Salvation of the Soul spiritual congregation, based on her story and images from her dreams, emerges shortly afterwards.

Written and read by Juan Guillermo Dumay and Natalia Riffo (2025)

1) Nour Sokhon يب - Beirut Birds / ط ور روت
(9:44)
2) Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman (7:06)
3) Tony Morris – greasy spoon (1:00)
 
1) Nour Sokhon يب - Beirut Birds / ط ور روت

Live performance extracts, GMEM, Modulations, Friche la Belle de Mai, Petit Plateau, LABgamerz, 16 Septembre 2025. A video and text related to live audio recording was published on Ibraaz on 17 February 2026.

Live performance audio recording: Tito Loria
Live performance mixing and mastering of extracts: Nour Sokhon

Beirut Birds ( ط ور روت ) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds ( ط ور روت ) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

"I would like to extend my gratitude to Tania Kammoun for contributing a field recording used on the album; Gabriel Haddad for providing visuals for my live show; Omar Adel for his work on studio video documentation and production; and most importantly, the interviewees who shared their voices and stories: Mahmoud Dabdoub, Asmabug, Kareen Nahas, and Anonymous." – Nour
aural conduct, 2024.
 
2) Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman    

This composition is part of the Cities and Memory project ‘A Century of Sounds’. 100 artistis contributed to this permanent sound installation now exhibited at the Pitt Rivers Museum in Oxford/London.
A reverberation, a story, a journey within a journey, moving through spaces and beings, merging voices temporally scattered. An original 55sec recording, an Indigenous woman calling to a parrot on the Purricha river, a diary, two students – Jonathan Ambache and Richard Saumarez Smith - their anthropological research and a summer trip to Chocó Department, Colombia, 1965.

- Sonopoem, field recording taken inside the Bacchiglione river in the Euganean Hills (Italy) w/ JRF hydrophone and Zoom H6 recorder, intro and outro performed on Lyra8 organismic synthetiser by Ilaria Boffa.
- Spanish spoken word by Colombian anthropologist and artist Elizabeth Gallon Droste
- 1965 original recording by J. Ambache and R. Saumarez Smith    

Artist bio:  Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London.
    
https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa
https://www.instagram.com/ilaria.boffa/
 
3) Tony Morris – greasy spoon

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.

https://www.instagram.com/tonymorrisssss/

Chotila Anthrophony Pit begins before arrival. It enters carrying the residue of earlier anthrophonic listenings before joining the pilgrimage at Chotila, where more than thirty thousand people move together across a thousand stone steps. Rather than documenting the climb, the piece listens for the moment a multitude begins to sound as one: when breath, footsteps, chants, waiting, negotiation, complaint, devotion, bells, and silence reorganize into a shared field of human presence. Near the end, the listening turns toward a newborn carried through the ascent before leaving with the mountain's quiet polyphonies—silences still resonating with those who have just passed through them. 

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

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

Biography

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

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

http://www.studiobalone.com

'fiery whisper - an imagined story about the atmosphere' is a radio piece, a tale, a fable told with words and sounds. The proposal explores orality, the invention of poetic imagery, and the power of narrative and music as forms of cultural transmission. By bringing together sound and word, the presentation creates a space of encounter between language, imagination, and presence. Central to the text of this sonic fable is the concept of atmosphere-devenir, defined as an ongoing process of becoming in which air, bodies, sounds, and memories continuously affect one another. This notion frames the atmosphere as an active, relational force that transforms what is lost into echo, what is forgotten into resonance. By activating an atmosphere-devenir, the narrative proposes a shift in perception: an ethical and imaginative gesture that invites sensitivity to the invisible, trust in transformation, and a renewed understanding of our entanglement with the more-than-human world.       Artist bio:   Tassia Mila aka gatopretopulando. Sonic and visual artist, weaver and curator. I compose sonic and visual pieces, sonic films, tales, stories and imaginations; I research the practice of experimental cinema and the survival of images, their presence, appearances, persistence, their generational transmissions and their movement in the  fabric of space-time and beyond. ​I was born and raised in Jequié, Bahia/Brazil and have indigenous origin from Kiriri-Tupinambá peoples. I currently live and work in São Paulo Capital City and I have Bachelor Degree in Fine Arts at the USP (University of São Paulo).       Website/social links https://www.tassiamila.com/ https://www.instagram.com/tassia_mila/

Sonic traces in a garden of longing is a one-hour, live-to-tape radio performance by Rundfunkorchestra, produced for a dedicated broadcast slot and recorded remotely as an ensemble.

A score shapes the hour with a clear temporal architecture while deliberately leaving space for improvisation and individual decisions. Migration is approached not as a story but as a shifting network of sonic relations in three movements—Language/Home, Borders/Deterritorialisation, Movement—punctuated by solo passages. The material draws from the orchestra’s own recordings and archives: voice and multilingual traces, fractured music, animal worlds, the human world, nature.

Refusing a single “red thread,” the work treats transmission itself as a compositional device: through the curtain of the radio wave, background becomes foreground, inviting attention to focus, drift, return, and drift again.

In this way, migration hints toward otherness—that which is around us, which we always want to grasp, yet can never fully hold.    

Artist bio:  
Rundfunkorchestra is a loose collective of sound artists based around Weimar, Dresden, Leipzig and Linz, working “radio-first” across broadcast, installation, and live performance. Created by students of the "Experimental Radio" professorship at Bauhaus University Weimar,  they not only focus on audio performances themselves. For example, they developed  radiophonic instruments and formats—such as the portable FM performance system Funkstern Plus—and have presented works with stations and festivals including Radio CORAX, Radio Helsinki, and Radio Elsewhere and also Radiophrenia.      

Website/social links   
https://rundfunkorchestra.org
https://konrad-behr.de/2023/11/13/funkstern-plus-gewinnt-saechsischen-staatspreis-fuer-design/
https://www.instagram.com/rundfunkorchestra?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

An Atlas of Haunted Houses is a spoken word performance about the advent of artificial intelligence. Paul's words take the idea of the ghost in the machine literally, bringing dead internet theory to life and asking what it means to live surrounded by ghosts. Vanja’s soundscape plays between several realities - some physically known to humanity, some only imagined, or being created outside our reach - and balances pessimism with the need for a space for dialogue, unattached to the span of a single lifetime. Behind those incorporeal presences are very real corporations with specific interests - how we can resist their machinations?    

Artist bios:  
 
Paul Currion has published fiction in The White Review, Ambit, and 3am Magazine, and his audiovisual installations have shown at the Vienna Biennale, Berlin Soundout!, and TransEuropa Belgrade. He works as a consultant to humanitarian organisations, and co-hosts the Belgrade AI Safety Group.

Vanja Dabic is a Belgrade-based pianist and sound artist. In her musical practice she explores the wide variety of musical forms, from dense repetitions to echoing soundscapes to free improvisations. She is active in collaborative projects across media, and a tutor-player in the Javanese gamelan ensemble Taman Merak.    

Website/social links   
https://currion.net/writing-personal/
https://kumah.bandcamp.com/

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/

Majesa is a spatial audio collage questioning the representation of Black women in media across both global and Flemish cultural and political contexts. Drawing from recurring historical stereotypes like the Mammy, Sapphire, and Jezebel, the work weaves together archival material to examine how these representations persist and transform across different cultural landscapes.

Through layered fragments of interviews, archival recordings, and found media, the piece creates a spatial environment where these stereotypes can be questioned, exaggerated, contradicted, and brought into dialogue with one another. Different cultural elements collide and interact, forming a new realm where the complexity of Black women's representation becomes audible through the tension and interplay between opposing narratives.

Originally composed for 7.1 surround sound, where fragments of sound move physically around the listener in space, the piece has been adapted into a stereo reduction for this broadcast, translating that spatial movement into a two-channel format.

Artist bio:
Aminata Soumaré is a Malian-Belgian sound artist and choreographer based in Brussels. Her practice explores the relationship between sound and movement through audio collage, sampling, and archive. Through past and future residencies at IPEM, Ultima Vez, and Q-O2, she continues to develop this research. In 2024, she was nominated for the NTR Podcast Prize with LINGO, an audio collage examining the N-word in Dutch-language media. She studied Radio and Sound at RITCS School of Arts and currently works as a sound artist and engineer on various projects.

Website/social links
https://ami-soumare.wixsite.com/aminata-soumare-port
https://www.instagram.com/aminatasoumare_/?hl=nl

Études for Synthesizer is a modular performance piece composed of three parts: two list poems, read in sequence; a series of brief sketches composed on an analog synthesizer, each attempting to abstract the sonic and kinetic qualities of running or dripping water; and audio documentation of myself performing a variation on Alison Knowles Fluxus work, Make a Salad, which has been subjected to algorithmic digital signal processing techniques. The resulting audio environment is one where the malleability and subjectivity of perception is explored in multiple ways. Recognizable sounds are manipulated into illegible noise, and back again. Societal, political, and cultural conventions are subverted and rearranged conceptually, through language, to expose the often arbitrary structures upholding them. Synthesized audio is worked into textures and rhythms that attempt to invoke cascading falls, dripping faucets, boiling kettles.    

Artist bio:  
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.    

Website/social links  https://linktr.ee/NathanaelJones

1 Louise Ahl - Blue Wind (3:02)
2 Omer Eilam - Vision of the Valley of Dry Bones (13:18)
3 Judith Geffert - Atemübung/ Breathing Exercise (5:50)        
4 Edgardo H E Martinez – Mantras (7:54)

1) Louise Ahl - Blue Wind 

This piece is based on exploring methods of integrating audio description as composed and choreographed work. Audio description is an access function that communicates the visual elements to a Blind or Visually Impaired person. This could be visuals in a film, performance, TV, a painting, sculpture etc. In a theatre space it is usually experienced through headphones with the live audio describer narrating the visual elements of the show. I have been working with writing description as a composed recitative styled material. The description is of a space and my choreography within it. I'm sending you a draft recording of such a text but my proposal is that I will rework this into a composition for several voices, as a chamber opera piece and re-record it. Even though I have never tried the radio format, I think it'll be really well suited for audio description work.     

Louise Ahl is a choreographer, performer, researcher and audio describer based in Stockholm, making experimental and choreographic performance and installation work. She creates both solo and collaborative multi-art-form pieces using movement, vocals, writing and sound. The work is often centralised around the relationship between the physical and metaphysical, whilst exploring access aesthetics. Louise’s work has shown across the UK (including Southbank Centre, BALTIC Centre of Contemporary Art, Nottdance Festival, Take Me Somewhere Festival, Submerge Festival, Tramway, Glasgow International and Experimentica Festival), and internationally.      

https://louiseahl.com/
https://www.instagram.com/l_o_u_i_s_e_a_h_l/

2) Omer Eilam - Vision of the Valley of Dry Bones 

Vision of the Valley of Dry Bones is an acousmatic composition combining electroacoustic music, biblical text, and reflections on war and exile. Inspired by the dramatic vision of the prophet Ezekiel, I use spatial sound synthesis techniques to reconstruct the transformation of dry bones into living bodies, with shifting textures that move throughout the space. As a Jewish-Israeli artist living in Germany, I connect with Ezekiel’s vision of resurrection as a metaphor for personal and collective transformation. The work reflects on timeless notions of creation and destruction as well as their current manifestation in the Israel-Gaza war. It is therefore both a response to current events and a search for meaning through sound.     

Omer Eilam holds university degrees in Neuroscience, Computational Biology and Music. In 2014 he moved to The Netherlands to study electronic music in The Institute of Sonology, focusing on the music of Karlheinz Stockhausen and working as a sound projectionist and synthesizer creator. At the same time he became active in the environmental movement, co-founding Extinction Rebellion’s online activist radio and writing extensively on the topic. Since 2021 he lives in Falkensee (Germany) and continues to explore the many facets of the human condition through music, activism, writing and Anthroposophy.     
https://www.omereilam.com/

3) Judith Geffert - Atemübung/ Breathing Exercise         

We humans breathe every second of our lives without thinking about it. And yet it is so difficult to remember.     

Judith Geffert is a radio documentary maker from Magdeburg, now based in Berlin. In their work, they like to explore the thin lines between journalism, art and academics. Their work experience comprises experimental radio features, narrative storytelling podcasts, radio plays, reportages and short journalistic pieces. Their latest radio play "Kontaktanzeigen" ("Personal Ads for Lonely Hearts") is exploring the possibilities of dialogue across generations of queer people in East Germany.     

Instagram: @judithgeffert

4) Edgardo H E Martinez – Mantras 
 
The work explores the concept of the mantra from an electroacoustic standpoint, weaving together its ritual dimension—a repetitive formula in Eastern traditions—with its psychological aspect as the persistent reiteration of ideas. From sound material processed through diverse synthesis techniques, cyclical textures emerge, subtly transformed over time. The repetition of sonic patterns generates a temporal drift that proposesan immersive experience, shaping a soundscape poised between meditation and recurrence.
    
Electroacoustic music composer and university teacher.
Professor at the Universidad Nacional del Litoral, Argentina, in Electroacoustic Music (until March 2023), and Music Theory and Analysis.
Compositions performed in Argentina, USA, Canada (presented by GEMS, Group of the Electronic Music, McGill University), France (Bourges), Italy, Spain, Czech Republic, Mexico, Brasil, Ecuador and China.
His work “...desde el desierto” (2001) had a “Menzione d’onore” in the 4th International Competition of Computer Music "Pierre Schaeffer", de Italia. Finalist at the IV Concorso Internazionale "Città di Udine" 2001/2002 in the Electroacoustic Music category and at the Musica Nova 2004 competition, Czech Republic.
     
https://www.edgardo-h-e-martinez.es/

5 Seina Takaguchi - The Hole (穿孔) (20:32)  
6 23melodic - Soundscape sonic arts (1:16)
7 Coline Cornélis- marais wiels (8:00)

5) Seina Takaguchi - The Hole (穿孔)

This audio drama is a reconfigured version of a 5.1ch sound installation created in 2022. Centered on two red berries, Anne and Pitti, the narrative explores various "holes" originating from a door's peephole. As the story progresses, these "holes" appearing in different scenes intricately intertwine, creating a complex temporal experience. Through the voices of the characters, the narrative gains a vivid presence and lifelike quality. This work transforms a spatial installation into a specialized radio medium, inviting the audience to navigate a surreal, auditory landscape of interconnected voids and narratives.    

Born in 2001 and based in Kanagawa, Japan, Seina Takaguchi is a graduate student in Media Art at Tama Art University. Their practice explores voice, narrative, and vulnerability through sound installations and radio performances. Notable activities include performances at BankART KAIKO (2024) and participation in the group exhibition "Vertex" (2026) as curatorial director. Their 2024 graduation project was selected as an outstanding work. They focus on the ethics of care and feminist perspectives, utilizing the radio medium for experimental expression.    

https://www.instagram.com/shenawalk/

6) 23melodic - Soundscape sonic arts

This soundscape explores the musical notes of everyday environments by blending field recordings from inside the home and outdoors with live instrumental elements. Textures were layered, stretched, and manipulated through frequency multiplication to reveal tonal qualities and rhythms. The piece transforms familiar sounds into an immersive sonic landscape, inviting listeners to reconsider the ordinary as something atmospheric, dynamic, and unexpectedly expressive.    

23melodic is a composer and sound artist who loves building worlds through music. She creates for film, TV, and games, blending her classical roots with alternative soundscapes, field recordings, and whatever textures spark her curiosity. Her work leans into emotion and atmosphere, using sound to tell stories, shift mood, and make the familiar feel new. Whether she’s working with instruments, everyday noises, or experimental processing, Amariah’s focus is always on creating something that feels alive, cinematic, and deeply felt.    

https://instagram.com/23melodic?igshid=OGQ5ZDc2ODk2ZA%3D%3D&utm_source=qr

7) Coline Cornélis- marais wiels (8:00)

The Wiels Marsh, in the south of Brussels, exists because of an accident. In 2015, during excavation work for an underground car park, construction crews punctured an aquifer. Groundwater flooded the site, the project was abandoned, and a new wetland slowly emerged.
Without being planned or designed, the marsh became home to reeds, amphibians, insects, birds, and countless other forms of life. It also echoes a much older landscape: Brussels itself was born in the wetlands of the Senne valley, and its name derives from the old Dutch Broekzele — "settlement in the marsh". Today, after centuries of draining, canalising and building over these environments, the Wiels Marsh has become an unexpected refuge for biodiversity, reminding us how quickly ecosystems can return when given space.

At the same time, the site has become a place of debate. For many residents, artists, scientists and activists, the marsh represents a rare common space where ecological processes unfold freely within the city. For developers, it remains valuable building land. Its future raises questions about how cities choose between construction and preservation, and about what kinds of life are allowed to flourish in urban environments.

This composition brings together recordings made over several visits to the marsh across a number of years, blending different seasons, weather conditions and moments of listening into a single soundscape. The piece unfolds in two parts: the first above the water's surface, the second below it. It closes with one of my very first underwater recordings. It was technically imperfect, full of friction, handling noise and heavy interference. Rather than removing these artefacts, I embraced them, transforming them with resonators until they became part of the marsh's imagined acoustic world.

This piece is a subjective listening journey through the Wiels Marsh: an invitation to encounter a place born by chance, where water interrupted a human project and another world quietly began to grow.

Coline Cornélis is an artist and composer working across music, field recording, soundscape creation, installation, sculpture, scenography, and drawing. Her practice explores ecology, recovery, and the interconnectedness of living beings through immersive sonic environments. Using DIY processes and recycled materials, she creates sound ecosystems shaped by resonance, silence, and emotional nuance. Memories, dreams and feelings circulate within her compositions, inviting attentive listening as a shared act. Her sparse drawings extend this sensibility visually, emphasizing balance and presence. Through sound and image, she proposes spaces of reconnection—between bodies, environments, and the fragile harmonies of the living world.    

colinecornelis.com
https://www.instagram.com/cocornel/
https://soundcloud.com/colinecornelis

Shaun Robert - flowers of the moon Part 1 : In five tracks ; rescission, aqueous, Incompatibilism, camber, Cryptid

Cross talk & frequency drifting pulls the strings of the heart & relating to loops and rough editing, audio drop outs , a Sonic Organic. A mix of forms in an expanding waves, 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      

Artist bio:  
Shaun Robert (1966 - ) has been working with sound from an early age. 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, spoken word & singing. Feeling the next transition is about to happen; 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    

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

Certain Secret Methods Two is a new 27 minute composition created specifically for radia.fm. It uses tape loops, harmonium, singing bowls, sequential circuits pro one and field recordings to create a space for you to visit whenever you like. I am intrigued by the concept of dead drops, codes and ciphers and Steganography. In this recording is embedded, messages, codes and location details. Perhaps you will listen closely and figure out what it is all about?    

Artist bio:  
Mykel Boyd (*1970, Kankakee, IL) makes sound recordings, conceptual artworks, photos, installations and films. By experimenting with aleatoric processes, Boyd creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found.    

Website/social links   
http://www.mykelboyd.com
http://www.somnimage.com
https://somnimage.bandcamp.com/