Thu 17

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Artist bio:
The Spectral Transmissions Research Unit is a collaboration between Ben Branagan Luke Pendrell dedicated to the theoretical and practical construction, dissemination, transmission, observation and analysis of spectral emanations.  Comprising a diverse spectrum of entities of various degrees of stability and tangibility. In as much as linear time can be applied, members of the STRU could, have, and or will include(d): Ludd Püca, JohnFrum, Kay Jackson, T-J.Cut, Dr. Ray Power, Proff. Jock Moxter, EKA-Francium, Dr. Tinkerpaw, Kaspar Brøcken, and The Coincidence Sprite.

Website/social links
https://extra.resonance.fm/series/gravity-waves
https://outlands.network/members/the-spectral-transmissions-broadcast-monitoring-research-unit/
https://www.instagram.com/lukependrell/
https://www.instagram.com/the_joyful_cut/

The piece "Klangglomerat" (german for "sound glomerate") by auvikogue (Peter Schubert and Andreas Usenbenz) was created as part of the cultural autumn event in the city of Geislingen an der Steige, centered around the theme "Geislingen's Underworlds." The artists collected field recordings from locations such as caves, abandoned mine tunnels, and vaulted cellars, interacted with the material on site or intervented the places bringing double bass, cymbals and singing bowls to the underground. all those sounds had been transformed into a dense sound collage which had been presented in complete darkness as a 6-channel-audio performance, creating an immersive sound experience where all the sounds circled around the audience. It will also be presented as a 6-channel-concert in a church during lab30 media art festival in Augsburg in the end of October 2024. The download link leads to the stereo mixdown of our work suitable for radio transmissions.

Artist bio:
auvikogue questions, listens, researches, drifts, absorbs, destroys, rearranges, moves, changes, bothers and stays, unadapted.

auvikogue, the alter ego of peter schubert, is working in the field of sound art, field recording, mail art, experimental music, performance and installation since 1999. meanwhile auvikogue has grown to a kind of art collective and performances under that project with various artists from the audio or visual scene had been played. permanent member since 2021 is andreas usenbenz.

auvikogue is located in the south of germany.

Website/social links
https://auvikogue.org
https://auvikogue.bandcamp.com
https://www.instagram.com/auvikogue/

Buchla Easel, 2x Revox A77, E.H. 45000. Persistent gono despite weeks of abstinence.

Artist bio:
LIBRAMAR is Association Head of Dronau Canal - non nepotistic collaborative exploration space in Vienna, Austria. New Reisebüro. Roy F. Culbertson III and Lucas Henao Serna.

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

The album "In The Name of the MOON" began when I imagined an ever-changing but static field of harmonies and pulses, intertwined with each other, and surrounding listeners like a galaxy of sounds. "Sparkling wide pressure" is the name of one of Sailor Jupiter's attacks. Sailor Jupiter, of course, is a character from the classic anime series "Sailor Moon." As I created this piece, I made some personal associations between the sounds I was crafting and the gestures and images I remembered from the TV show. Each of these "ambient character portraits" is full of shifting, intricate patterns of interwoven sounds. Yet each piece is balanced in content, maintaining equilibrium like bodies in the solar system.
https://kerrithlivengood.bandcamp.com/album/in-the-name-of-the-moon

Artist bio:
Composer Kerrith Livengood’s works have been performed at the SEAMUS Conference, KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, and Alia Musica Pittsburgh’s Conductors Festival. She has written works for the JACK Quartet, Third Angle Ensemble, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, and the h2 Quartet. Her music features controlled randomness, lyricism, noise, and humor. She is also a flutist, drummer, technologist, and improviser.

Website/social links
http://kerrithlivengood.com
Instagram: kerrithl

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

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

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

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

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


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

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

Following on from Mark Fisher & Justin Barton’s On Vanishing Land and Kode9’s Astro-Darien, the third release on Flatlines, Hyperdub’s sub label for audio essays and sonic fiction, is By the North Sea by Robin Mackay, philosopher and founder of the UK publisher Urbanomic. The project is a sonic exploration of the perplexities of time, disappearance, and loss, channelled through the fictions of H.P. Lovecraft, the speculative mythos of the Cybernetic Culture Research Unit (Ccru), and the ghost of Dunwich—a once prosperous English trading city now lost almost wholly to the sea. Described by Mackay as a ‘radio play afflicted by ontological rot’, the audio essay interweaves field recordings, recovered video footage, voice performance, and original music. The voices of Lovecraft scholar S.T. Joshi, actors Peter Marinker and Phyllida Nash, Angus Carlyle, Lisa Blanning, diver Stuart Bacon, and Morgan Caines of Dunwich Museum, loop and twist around Mackay’s narration in a dense, multi-levelled sonic hyperstition that lends itself to repeated listening. Mackay began writing By the North Sea in 2017 in the week immediately following the death of Mark Fisher, returning to the archives of a project that he and Mark had embarked upon in 2001, with the themes of the original ‘Dunwich Project’ taking on a new character in the wake of Fisher’s death, and becoming a device for asking questions about finality, about things that could now never happen, about the possibility of continuing, and about a distanced friendship marked by depressive absences and constantly deferred promises to spend time together. The ‘definitively unfinished’ version of a project that does not, has not, and never will exist, By The North Sea tells of the search for a mode of time where nothing passes definitively and everything can, with the correct procedures, be accessed, re-synthesised, and recast. In a series of resonating narratives across different moments in time (1949, 1968, 2001, 2017), characters including anthropologist Echidna Stillwell, time-travelling professor Randolph Templeton, Lovecraft, and Fisher and Mackay themselves emerge and are submerged in turn, swirling continually around the conceptual figure of Dunwich, as their search takes on the character of a repetition compulsion–a collective return to the site of an impersonal trauma. Robin Mackay is a philosopher and founder of the UK publisher Urbanomic, which aims to engender interdisciplinary thinking and production. He has written and spoken on art and philosophy and has also worked with a number of artists developing cross-disciplinary projects, as well as translating innumerable essays and various book-length works of French philosophy.

On today’s show we listen to two works that capture animals and environments in interesting and unique ways. Both works come from the 19th edition of the Deep Wireless Radio Art Compilation, which is now available on soundcloud.  

We are going to spend the majority of the show listening to and talking about the multi-species project Pigeon Band, which began with the question: “Do pigeons like music?” 

Two toy synth keyboards were installed on Emmie Tsumara's kitchen window sill, awaiting the daily pigeon visitors. Over several months of practice, the pigeons learned to play the keyboard as they snacked on sunflower seeds. Though each pigeon can be hard to tell apart visually, they each have their own personalities and movements. With those differences they each play a different song.
 
The Pigeon Band benefited from the collaboration of many artists, including Blunderspublik, D Badua, Julia Fenn, Charlie Glasspool, Sarah DeCarlo, Polly-Jean Vernon, Veronica Ing, The Burning Hell, Jas Nasty, Chris International, Babe Chorus, Anomalia and Charlie Petch.

The album was produced by artist, designer and pigeonfluencer Emmie Tsumura and it is mastered by Julia Fenn. I had a conversation with both of them to tell us about Pigeon Band and how it came to be.
 
At the end of the show we will go on an electromagnetic hike up Ensign Peak in Salt Lake City with sound artist Matthew Driggs McMurray in his piece Meta-Frequency Field Recording: Salt Lake City // Ensign Peak.  

https://naisa.ca/

Embarking on a journey along hydrobodies - from the deep ocean’s abyssal planes all the way through the Mississippi river, outwards into Indonesian tropical rainforests - ‘Sonic Traces’ expands on my personal inquiries and journey as an activist and researcher. It sets out to expose how the traces of pollution - be they sonic or chemical - travel through watery spaces, impacting communities across ecosystems. Taking the form of a speculative dérive, it includes field recordings, poetry, field notes, and philosophical wonders.

I address research developed in the Lower Mississippi river petrochemical corridor, North Kalimantan in Borneo island, as well as introduce my practice as an activist concerned with deep sea mining and the impacts of ocean noise. I enquire how the water column is affected by chemical particles circulating through it, as new industries arise and expand from the seabed outwards towards land, tracing some of the cumulative impacts of human presence, while raising awareness into how one is embedded in wider webs of ecosystemic exchange.

For what if one were set to understand watery systems in novel ways that reorganize how one senses and partakes in the world?

Expanding on how traces bear witness to past actions and leave an intergenerational imprint, I explore the complex condition of partition-thinking in natural worlds, problematising human-centric ideas of containment and fixity, in otherwise fluid and interconnected spaces. By doing so, I expand on our conceptualisation of space and corporeality to introduce new perspectives on environmental thinking.

_

Margarida Mendes is a researcher, curator, artist and educator, exploring the overlap between systems thinking, experimental film, sound practices and ecopedagogy. She creates transdisciplinary forums, exhibitions and experiential works where alternative modes of education and sensory practices may catalyse political imagination and restorative action. Mendes has long been involved in anti-extraction activism collaborating with marine NGOs, Universities, and institutions of the art world. She holds a PhD in Research Architecture by the Department of Visual Cultures, Goldsmiths University of London and is a member of Natural Contract Lab, a transdisciplinary collective of lawyers and artists working on restorative justice and rights of nature across Europe.

http://www.instagram.com/margarida___mendes/
goldsmiths.academia.edu/MargaridaMendes

Cogitare Deambulare - Derived from Latin, translating to “Think Walk,”.
A longform audio representation of a year spent walking with therapeutic intent. The recording serves as a document, chronicling the journey of a year spent walking, listening, reflecting, recording, and creating sounds.
Following a significant life-altering event, I found myself walking as a means of processing my experiences and emotions. Each step became a form of meditation, allowing me to navigate my thoughts and feelings while immersed in the natural world around me. As I walked, I listened to the environment.
Through this recording, I aim to share a few of the sounds I encountered and the insights gained during this introspective journey. It serves as a testament to the healing power of movement and contemplation, illustrating how the simple act of walking can lead to profound reflections and personal growth.

Artist bio:
Mat Warren is an experimental guitarist, sound designer, recording engineer and producer known for his complex improvisational style using his guitar both in a traditional way and also feeding it through machines, devices and software. Utilising looping, generative techniques and complex signal-chains, He creates evocative sound-scapes that twist and morph from ethereal organic pads to sheets of distorted noise. Having developed his musical foundations across the UK, Mat has been based in the north-west of Ireland since 2016. From his studio in County Leitrim, Mat continues to develop his production style exploring improvisation, field recording, noise, generative music and drones.

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

1 Freya Dooley - Useless and Precious (8:32)
2 andre birken  - 31 monstrous demonstrations - EFFO ISN E (0:46)
3 John Roach - The Airborne Library – (15:40)
4 Barnabas Sharp - Swallow the Universe (7:30)
 
 
1) Freya Dooley - Useless and Precious

Useless and Precious is an experimental composition produced from a personal archive of vocal recordings, intercepted by samples of a monologue from Fellini’s 8 ½ (1963); a film about a self-involved director’s struggle through a fragmented creative process. The composition is created solely from manipulated voices which ventriloquise the instruments of an erratic orchestra. A polyphony of disparate voices collides and briefly syncopates.

Freya Dooley is an artist based in Cardiff, UK. Her practice spans sound, writing, moving image and performance. Often rooted in close-range observations, layered narratives and soundscapes navigate the harmonies and tensions between personal and collective experiences, with a particular interest in structures of work and domestic living. Freya was the Creative Wales-BSR Fellow at The British School at Rome in 2021 and was awarded a PRS Women Make Music Award in 2023. Solo exhibitions include False Note, Site Gallery, Sheffield (2024), the Artes Mundi Wales Venice 10 Commission (2022-3) and Temporary Commons, Jerwood Solo Presentations, Jerwood Arts, London (2021).
http://www.freyadooley.com
@freya_dooley (instagram)

2) andre birken  - 31 monstrous demonstrations - EFFO ISN E

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

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

 
3) John Roach - The Airborne Library

The Airborne Library uses Charles Babbage’s Ninth Bridgewater Treatise (1837) to explore the persistence of transmitted sound in the media. Babbage, an eccentric mathematician whose “difference engine” was a precursor to the first computers, posits that sounds, once uttered, are permanently inscribed in our atmosphere, he writes: “The momentary waves raised by the passing breeze, apparently born but to die on the spot which saw their birth, leave behind them an endless progeny, which, reviving with diminished energy in other seas, visiting a thousand shores...will pursue their ceaseless course till ocean be itself annihilated." Despite Babbage’s imperfect understanding of the physics of sound, his suggestion that our words endlessly circle the globe, provides a powerful metaphor for the transmission of sound. It is a harbinger of our current mediascape in which the inscription of fleeting events becomes permanently etched into the public record.

John Roach is a Queens, NY based artist and educator whose work is concerned with the often slippery role of sound in how we perceive the world. His most recent projects have explored the ability of sound to construct immersive portraits of places, and how the careful assembly of spatialized field recordings, sound design elements, and voices can connect a listener to unexpected impressions of a landscape or soundscape.
https://johnroach.net/
https://www.instagram.com/johnroachart/

 
4) Barnabas Sharp - Swallow the Universe

This is an experimental audio score composed and performed by myself, which is inspired by the comic book of the same name by João Caridade (used with permission).
Caridade describes the comic book as a journey that "combines the processes of digestion with sci-fi influences"; I decided to combine pitch-manipulated vocal recordings of nasal and throat 'noises' to create a soundscape that pairs universal creation with the human digestion process.

Barnabas Sharp is a composer and vocal performer. Their compositions range from neo-classical to experimental in genre, and have written for solo piano, song, choir, orchestra, film score and electronic performances. They enjoy manipulating classical forms and expectations to please and surprise a 21st-century audience, featuring themes of religion, queerness, nostalgia and hope. They are a professional tenor/baritone/bass and currently sing with the Queen's College Choir at Oxford, and are also a tenor choral clerk at St. Michael's of the North Gate.

bsharpproductions.co.uk
Facebook: @BSharp97

5 Kari Kraakevik - A Dream? (9:25)
6 Alica Tserkovnaja - Trace it (5:17)
7 Zhanraw - you have a way with rebar (10:31)
 
 
5) Kari Kraakevik - A Dream?

A Dream? is an electro-acoustic collage in which the created and  recorded sound samples depict bedtime routines, activities in ones brain, last thoughts before falling asleep, and of course, the REM, or dream cycle. This piece starts with sounds of a typical end-of-the-day routine, brushing teeth, talking to loved ones, preparing the bed, nighttime prayers etc…coupled with thoughts or reflections on the days events. As one becomes more tired, reality and conscious conversations become intertwined with past or present subconscious thoughts and conflictions. The remaining discord between conscious reality and subconscious thought reveals the theme of this piece. Finally, when sleep overcomes consciousness, the subconscious fears and buried spiritual and or emotional turmoil triumphs over reality. However, restless sounds and the consistent heartbeat remind the listener of the dual nature of sleep: reality vs. the subconscious thoughts and fears coexisting in the same body.  Waken from the chaos of this duality, the subject, alarmed, asks the perennial question; “was it just a dream?” thus, reflecting on the ambiguity of sleep and consciousness, the ambiguity of reality and disillusion and the ambiguity within us all. This was composed, recorded and edited using digital and sequencing software such as Protools, LogicStudio, SampleTank and MetaSynth 4.

Kari Kraakevik is a composer currently living in Boulder, Colorado, where she obtained her Masters in Music in 2011. Her body of work consists of chamber, orchestral, vocal, electroacoustic and even jazz, often using textualism as her main palette of sound. She creates stories with or without words that paint a tone-picture. Composition has always been my her love, and forever constant in her life. She is currently an entrepreneur of two successful arts businesses in Boulder, CO for the past eleven years, and her goal is to pass on her love of interdisciplinary media arts to her students.
http://www.take2tunes.com
@take2Tunes (insta)

 
6) Alica Tserkovnaja - Trace it

Trace it

It's what you could do - with the capacity you had
It's what you did - with what you were given
It's what you found when you clicked and played and played - can you trace it? Sniff it? Climb it?

Alica Tserkovnaja - (b. 1988) based in Stockholm (SE) - works through expanded choreography, acting, text, sound and moving image. She seeks out attentiveness and rhythm, the now, drawn to the dreamy and alluring. Alica holds an MA in Music Performance from Malmö Music Academy and a Bachelor in Mime Acting from Stockholm University of the Arts. Tserkovnajas works has been shown at Konträr, Stockholm(SE), Inter Arts Center, Malmö(SE), Centre for Contemporary Arts, Glasgow(SCT) and Assembly Roxy, Edinburgh(SCT).
http://www.alicatserkovnaja.com

 
7) Zhanraw - you have a way with rebar

“you have a way with rebar” - This incendiary piece erupts with the tumultuous emotions of anger and frustration, laying bare a destructive force that narrows perception to a razor-thin pinhole.The raw energy of these feelings crashes against a desperate yearning for connection, revealing the profound isolation that often accompanies such intensity. It dares to expose the cracks in our emotional armor, suggesting that fragility and tenderness can harness and tame the raging bull of our fury. This work is a brutal invitation to confront the searing moments that flicker amidst our vulnerability, highlighting the volatile connection between ferocity and gentleness. Ultimately, "you have a way with rebar" serves as a jarring reminder of our capacity to uncover strength in delate states, demanding we grapple with the dark corners of our psyche to forge connection through raw understanding and unapologetic empathy.

Zhanna Rozenberg (aka zhanraw) is a multidisciplinary artist working in sound, film, poetry, performance, and installation. Her recent work, Unsaid (1/31 & 2/31), debuted in 2024 with a performance by the Bergamot Quartet, Payton MacDonald, multi-channel audio, and video projection. Like many prior works, it explores the interstitial and manifold aspects of experience: matters of attention, conditions of embodiment, perceptions of self, time, the other, and one’s one’s environment. Her interdisciplinary approach reflects her fascination with how technology can bridge the personal and the societal, turning complex questions into immersive experiences that provoke both thought and emotion.
https://www.instagram.com/zhanraw/
https://soundcloud.com/zhan_raw/sets/days-and-nights

The Severn bore is approaching. Who are these people on the banks of the river? What are they doing? And how did the Severn get its name?
This piece combines spoken word, drama and field recordings from the River Severn, telling the dark story of the river goddess Sabrina, and how she is approached in different ways.  Geoffrey of Monmouth writing nine centuries ago, is the source of this story, that begins when Britain was Albion and populated only by giants…

Sandra Mutton and John Williams were the Narrators.
Michele Wardall wrote Severine, Mother and Daughter and Estrildis and Guendoloena
who were played by
Florence Simpson and Naomi Zara.
Hugh Manistre wrote the Podcaster,
played by Kevin Keene
and
Rachel Freeth sang.

The narration and music were recorded indoors, but everything else on the banks of the Severn.
A Birdman750 Production.
Dedicated to the memory of Sandra Mutton.

Artist bio:
Birdman750 aka Hugh Manistre was born in London, educated in Newport Pagnell and Milton Keynes, and left school with an A-level in music. After failing to become a rock star, trained as a psychiatric nurse, specialised in electronic health records, then worked for a software company in Sheffield.
Currently working on various birdsong recording projects, oral histories and developing the Stroud Sound Map, recordings of the local 'anthropophony, biophony and geophany'.

Website/social links
https://stroudsoundmap.org
Other work on Soundcloud:
https://soundcloud.com/user-11077807

'a-drift-a-shore' is a body of work featuring a 24′38″ soundscape that contains multilingual spoken excerpts from individuals who have experienced migration. This workshop series explored storytelling through the metaphor of a drift seed. Participants engaged in creative writing, sculptural building, and collective map-making, revealing personal stories as a form of introspection and healing. The project aimed to open a dialogue on the complexities of migration and diasporic experiences, amplifying historically marginalized voices. Recorded sessions took place at the Glasgow School of Art, the Garnethill Multicultural Centre, the Maryhill Integration Network, and MILK between autumn 2022 and spring 2023.

Artist bio:
dorka plays in the overlapping spaces of social design, art, and community. Born and raised in Hungary, she is currently based in Scotland. She approaches all her work as an exercise in storytelling, and researching things beyond their physical or temporal bounds. Collaboration and collective making enrich the self and are centred in her work. Play is the heart of dorka’s practice – an endeavour toward seeing with a child’s eye, tracing lines and living inside them.

Website/social links
https://dorkamaking.cargo.site/
@orkababa

Takayna is covered in sinkholes. Over thousands of years, rain seeping into the soil dissolves the dolomite rock below, slowly forming hollows and voids above ground. Soil and rock fall inwards and are washed away and the void grows deeper. To our eyes, the sinkhole’s surface is still and reflective, obscuring the orchestra of life within its water body. With one ear above and one below the surface we listen to frogs, birds, the wind through the trees, aquatic insects buzzing like tiny fireworks, burrowing invertebrates and clawing crustaceans. Takayna holds the largest ancient temperate rainforest in Australia and one of the last undisturbed Gondwana rainforests in the world. Like many forest sites in Australia, it is threatened and surrounded by logging.
Gratitude and respect to the palawa pakana traditional owners. Dedicated to the forest defenders.

Artist bio:
Jess Hamilton is an audio producer and field recordist living on Gadigal land, Eora (Sydney). Her work explores memory, temporality and the hidden sounds of ecosystems through hydrophones and electromagnetic recorders, layered field recordings and found sound. Through a practice of listening, recording and manipulating sound, she attempts to make audible the anthropogenic influences of our time on ecosystems and soundscapes - particularly those that seem obscured from human senses. Her audio storytelling projects have featured at IFC AudioDocs Reykjavik, Rose D’Or and the Australian Podcast Awards. She is currently studying soundscape ecology through a Master of Marine Science.

Website/social links
https://soundcloud.com/jessicajhamilton
jessica-hamilton.com

1) Lin Li - Listen Now (12:00)
2) Luigi Morleo - CLIMATIC EXPRESSION (11:09)
3) Jules Bradley – melting (3:03)
4) Nick St George - Gentle Nymph (5:52)
 
 
1) Lin Li - Listen Now

Listen Now is a collage of spoken words, original recordings and found sounds about time, with a focus on the concept and the conscious experience of ‘Now’.

It consists of sounds in the public domain, a clip from the Youtube video "Thich Nhat Hanh on the Present Moment – Walk with Me" by the Irish Film Institute; extracts from "T. S. Eliot reads ‘Burnt Norton’ (1935)" by brainpicker on soundcloud.com. It also includes a quotation from Bernardo Kastrup’s article "Solving the Mystery of Time" published in 2023 on iai.tv, and a widely quoted passage written by Albert Einstein in 1955 in a personal letter.

The words were spoken by Lin Li and synthesized voices.

Lin Li is based in Edinburgh. Her creative practice centres on the use of sounds, along with both still and moving images. Her audio works have been broadcast in previous editions of Radiophrenia.
http://www.linli-art.com

 
2) Luigi Morleo - CLIMATIC EXPRESSION

CLIMATIC EXPRESSION is the latest electronic work by Luigi Morleo, dedicated to the climate change of our planet. This song aims to raise awareness of the climate problem; with the sounds of our planet Earth it is possible to create a sound expression.

Luigi Morleo (born 16 November 1970 in Mesagne, Province of Brindisi) is an Italian percussionist and composer of contemporary music, who lives in Bari and teaches at the Niccolò Piccinni Conservatory. He uses varied musical and artistic styles like minimalism, rock-cross-over, folk-Pop, jazz, electronica and DJ. Many of his works have been played at PASIC (Percussive Arts Society) in Nashville-USA, Federation Bells of Melbourne-Australia, and at the New York City Electroacoustic Music Festival-USA and Festival MUSLAB from Mexico, Festival Futura Electronic – France, Festival En Chair et en Son - France, Jasmin Vardimon Company from Ashford-UK.
https://www.instagram.com/luigi_morleo/

 
3) Jules Bradley – melting

melting is a audio meditation on scale and the fascination with apocalypse. It asks listeners to sit with melting ice in multiple forms: global and catastrophic to molecular and mundane.

Jules Bradley is a producer, sound artist, and oftentimes farmer living between Maine and Brooklyn, USA. She’s had works appear on BBC4 Short Cuts, Audio Flux, the Radio Project, and more. She is currently a creative producer at Vox Creative as well as a freelance producer and teacher. She’s also the co-creator of Inherited, a youth storytelling podcast.
juliannabradley.com
jayy_gee_bee

 
4) Nick St George - Gentle Nymph

The title is ironic. Sabrina, the nymph/goddess of the Severn is far from gentle these days. Towns along the Severn such as Bewdley, Upton and Tewkesbury regularly suffer from severe flooding. The piece comprises primarily processed hydrophone recordings of the Rivers Severn and Teme (one of its tributaries) taken when both rivers were in spate. There are also readings from Milton's masque "Comus", first performed at Ludlow Castle in 1634, and which features Sabrina: "...a gentle Nymph, not farr from hence/That with moist curb sways the smooth Severn stream".  Ludlow sits on the Teme.

Reader: Cheryl St George.

An earlier version of this piece was made for the Worcester Open Art Exhibition (theme: flooding) in 2023.

Nick St George is a former radio and television producer/director/presenter, now making sound art in Worcestershire. His audio pieces have been exhibited at at the Bath Fringe Festival, the Wells Literature Festival, the Little Islands Festival and the Monitor Festival (both the latter in Greece). His work has been broadcast on Resonance-FM, Mayfest Radio and Frome-FM. He has compiled and presented two mixtapes for 'Sound and Music', and in 2018 won the Orchestra of Samples Remix Competition. "Don't Be Alarmed", his short film with a soundtrack based on manipulated field recordings, was screened at this year's Borderlines festival.
https://soundcloud.com/yesonsofart

5) Lananh Chu – polysyndeton 2 (2:42)
6) Phil McDonald - A Figure (8:40)
7) Olivier Julien - Peter Kay's Meat Grinder Chortle (6:58)
8) Frontera Glaciar – HERMANO FANTASMA  (6:20)
 
 
5) Lananh Chu – polysyndeton 2

I name it “polysyndeton” to contrast with "asyndeton," which is the effect of erasure or unhearing many sound elements in everyday life (Augoyard and Torgue 26). In the process of composing “polysyndeton,” I have listened, ardently and meditatively, to sounds around me, namely, water rising and water boiling and water dripping and leaves drying and flowers crumbling and boiler and heater and toaster and cooker and a vase long time no touched and a wine glass often thirsty and a fridge always moaning and my stomach forever hungry and foil and plastic and papers and ...

Lananh Chu is a Vietnamese maker and writer, who wants to listen with her/their flawed ears.
https://linktr.ee/lananhchu

 
6) Phil McDonald - A Figure

Caitlin is a moving drama that celebrates contentment in solitude. The tone is meditative and philosophical with hypnotic ambient music. Told in snapshots of normality, the everyday poignant observations become epic, revelling in specific human details, celebrating the life of a serene and detached woman. We move from Caitlin narrating her own life in the third person as free indirect discourse, to those she crosses paths with, as she inadvertently affects them. The introspective nature of the character and the pace and tone in which she experiences the world lends itself to audio in particular. Her meditative eyes on the world lean into the medium of audio narration and, with the use of soundscapes and ambient soundtracks, the episodes would become a personal and enchanting listening experience. People might enjoy it on a dog walk, drifting off to sleep or just escaping.

Phil is a teacher and writer. He has had a piece of work with Radiophrenia in 2023 under the name butteredfeet but this submission is him working alone. He has been making Caitlin for a year now and enjoyed something of a cult following. Before becoming a teacher in a secondary school in Newcastle he worked as a Script Editor in the film industry.
https://open.spotify.com/show/0nYr0AEniW7EMT22NCpvIv?si=o2MP59ZFTFq7Ay0-mjVg4Q
https://podcasts.apple.com/gb/podcast/caitlin/id1703310815
Instagram: caitlinisalone

 
7) Olivier Julien - Peter Kay's Meat Grinder Chortle

Whilst consultants hum chuckle to memories of this n that a select group of civic engineers mad on embroidered drool and UB40 drill to the centre of the earth in search of Heaven or Hell only to find nothing (nothing), nothing: nothing.

I am an artist working with sound, performance and video based in Glasgow. I work with found objects, text and memories and attempt to bring them back into the world, converse with them and re-substantiate them. I love the phrase salvage punk.
https://www.olivierjulien.co.uk/

 
8) Frontera Glaciar – HERMANO FANTASMA

From  EP “Patio Nevado”

Compilation of sounds and voices from Patagonia, including personal elements, natural and tourist spaces of Punta Arenas (Strait of Magellan, Plaza de Armas).

Ignacio Núñez Oyarzo (Patagonia, Punta Arenas) Graduate in Education (UMAG, 2015) Pedagogue (UMAG, 2016) and Master in Arts (PUC, 2020). Sound artist, producer and DJ. Frontera Glaciar is his artistic name and personal space in which Ignacio experiments and combines soundscapes of the Patagonian territory with various voices. His name is due to the fact that he was born and lives in the city of entry to the polar territory. His line of work is divided into the creation of sound series (radio art) and sound experimentation and live performance. And he develops projects linked to: climate change, territory.
https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
https://soundcloud.com/frontera-glaciar
https://fronteraglaciar.bandcamp.com/album/patio-nevado

1) Johnny Dixon - Daily Bread  3 (5mins)
2) Cerpintxt - Acid Rain in the Nucleus of the Stone (4:25)
3) Ecka Mordecai - la charnière I (06:12)
4) Catalina Barroso-Luque - Cackles (3:00)
 
 
1) Johnny Dixon - Daily Bread  3
 
Using small white single-use plastic items from everyday foodstuffs visual scores have been created on a black background. A vocal sound palette is suggested and in the six five minute sound pieces used for four voices to render the plastic pieces as imagined fragments of letters of the Roman alphabet. The scores can be viewed and listeners are invited to soundalong with the pieces by using the palette and following some basic suggested instructions - or by using their own sounds. The scores and the palette can be read here https://daily-bread-rp2025.blogspot.com/2025/02/?m=1

Artist bio:
Johnny Dixon is Irish and lives in London.
 
2) Cerpintxt & Ruben Sonnoli  - ‘Acid Rain in the Nucleus of the Stone’ 
 
An improvised excerpt from ‘Refugees of the Symbolic Network’ album.
Refugees of the Symbolic Network – أَسيرًا في مَصانعُ الحُلمُ is a series of funeral music spatialized in the convolution reverb of the King’s Chamber of the Giza Pyramid, transposed within the spectral footprint of the chambers. Deconstructing the work of the Izz al-Din Manasirah & Sargon Boulus, the pieces deploy speech as an instrument whose tonal-dynamical structure reveals harmonic ciphers embedded in the fabric of the language. An inquiry into the ritualistic nature of submission to utterance as a spiritual force, to sculpt a cavern of voices of the forsaken, refugees of the symbolic network.
 
 
3) Ecka Mordecai - la charnière I
From the album Promise & Illusion
 
 
4) Catalina Barroso-Luque - Cackles

Experiments with cackling, wailing, croaking, screeching and scratching the strings of a piano. The piece plays with ideas about invoking spirits or being possessed by demons. Inspired by ghost stories, haunted houses, keening practices from Ireland and the north of Spain, and La Santa Muerte deity from Mexico. *This is the first sound piece I've made/recorded that wasn't born from my writing practice.

Artist bio:
Catalina Barroso-Luque constructs stories inhabited by voices, texts, images, bodies and objects. She also writes in English and Spanish, using processes of performativity, self mythologization and translation. She has participated in projects at Wysing Arts Centre (UK), Deptford Project Spacce (UK), Glasgow International (UK), Intermedia Gallery (UK), Glasgow Sculpture Studios (UK), Radiophrenia Festival (UK), Swedish Museum of Performing Arts (SE), Centro de Cultura Digital (MX), Centro Cultural España (MX), Centro Cultural González Gallo (MX), cheLA (AR), amongst others. Her writing is published by Bricks from the Kiln, Gutter Magazine, Montez Press, Hoax!, post[s] (Universidad de San Francisco de Quito), MaMSIE

Website/social links
http://catalinabarroso-luque.com/portfolio.html
insta: @blcata
 
 

This radio work takes a critical position against cartography and departs from its connections to colonial practices of mapmaking and imperial borders. Drawing insights from alternative spatial practices of meandering in some of the Global Souths regions and cultures, and from radical-subversive practices in Europe, such as The Situationists, in this work I explore some listening-driven counter mapping practices, attuning by migratory movement and drifting. Within this discursive context, I present my artistic method of nomadic listening and sonic psychogeography, manifest in this work, which investigates the sonic fabric and distortions of the German city Offenbach, a poorer post-industrial urban terrain during a residency. The sound archaeology lends an ear to underheard corners in public spaces, exposing historical and social layers as acoustic material. Incorporating radio interferences and field recording traces, I try to demonstrate how an unfolding auditory situation holds acts of listening open, instead of closing it down in the form of a soundscape. Here I take liberty to critique Murray Schafer’s soundscaping and acoustic design approach, as for a listening-based artist, it is crucial to perform acts of adaptive perception in intersubjective listening, attunement, and to trace these situations for sharing in the form of drifting and shifting personal narratives. Biography: Budhaditya Chattopadhyay is a multidisciplinary artist, researcher, and writer. Chattopadhyay produces works for exhibition, installation and live performance addressing contemporary issues of environment and ecology, migration, and decoloniality. His works have been widely exhibited, performed, or presented across the globe. Chattopadhyay has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. https://budhaditya.org/

A Line Drawn Downwards “We are tapping into the invisible currents of the Earth, sending messages through the ether…”                                —  Nikola Tesla, early radio experiments, c. 1900 The ground opens up, we fall inwards, the shifting rubble opens to ineffable depths. A world unseen, but heard into being. The synth becomes the conduit, transmitting in frequencies, straddling the boundaries between organic and artificial sound, guiding the antipodeal  line through layered interiors; crust, lithosphere, asthenosphere, mantle, and core. The synthesizer is not an instrument of control but a porous interface navigating the imaginary of the natural datum. Turbulence shapes new forms, inverted waveforms, liminal cocoons, subharmonics and overtones, a cartography of the unexplored. The tunnel wall  fractures, revealing not just space, but something beyond the reach of engineered design. A cavernous expanse. Above, renewal? Or at least, a reckoning? A Line Drawn Downwards blurs the space between history, prophecy, and fiction; folded into the Earth. We bore into the hum of the world and hope something answers. Recorded at WORM Sound Studio in Rotterdam, this sonic cartography unfolds through the distinct textures of each instrument; Kawai 100F, Syntron Syrinx, Soma Enver, Korg MS20, Korg PS3210, Optigan, Moog Prodigy, ARP 2600, EMS Synthi, Publison DHM89 B2, Yamaha CS100, ARP Odyssey, Roland TB303, Blippoo Box, Juno 60, Organelle, Boss DD7, Paia Proteus, Roland SP404, Roland D50, Yamaha 40M, Yamaha 60M, Phillips Philicorda, and the Fender Rhodes. Commissioned by Radiophrenia, 2025. Murray  Collier is a musician and producer from Ayrshire, now working in Glasgow. He has released music on Sacred Summits (Emotional Response/ Firecracker Recordings), 12th Isle, Real Landscape, Optimo Music and Domestic Exile. He has performed at the Tate Modern, Turner Contemporary, the ICA, and  Tramway, and for festivals such as Rewire (Den Haag), Glasgow Film Festival, Counterflows, 53100 (Siena, Italy) and Donau Festival (Krems, Austria). Hannan Jones is an interdisciplinary artist whose current research expands hybridity, language, and rhythms associated with cultural and social migration, and psychogeography. Underpinning her practice is an evolution of sound, Hannan works with electronics, music concrete, improvisation and analogue recordings. Using samples and layering of audio material, she reclaims parallel histories, and reimagines connections between them. She  is a graduate from Glasgow School of Art’s Sculpture and Environmental Art department. From 2020-21 she was an Associate Artist at Open School East. In 2023, she became a recipient of the Oram Award, a platform to elevate the work and voices of women and gender  non-conforming artists innovating in sound, music and related technology. Hannan has performed at Counterflows, Glasgow; SAVVY Contemporary, Berlin; Cafe Oto, London; REWIRE; The Hague; The Tate Modern, London; New Radicalisms, Rotterdam.

1) Marie Cheneval - Derrière les munitions (19 :48)
2) andre birken - 31 monstrous demonstrations-  EFFO ISN C (0:37)
3) Robert Gillespie – Legacy (15:39)
 
 
1) Marie Cheneval - Derrière les munitions

In France, during two thousand years a lot of cities have huge place where ammunitions are making. To Toulouse, the place named Cartoucherie and it mesure hundred hectares. In the 80s, about 4000 peoples worked in the factorie.
Now, the factorie doesn't exist anymore and have  been replaced by a new area with restaurants, a cinema, a school and a lot of habitations.
In order to don't forget the industrial history, I have realised 4 episods about the production, the workers, the site and the history, 200 years of manufacturing of ammunition.
Derrière les munitions is the first chapter, in whiwh workers explain their work and how they product ammunitions.

I am french and i live to Toulouse, in the south of France. I am making sound documentary to tell stories in the words of others. I love voices, accents and expressions who tell about people so many things and are unique for each person. Moreover the voices, sounds tells stories, also. So when you mix the two, a new world a new world appears.
https://mariecheneval.fr/
https://www.facebook.com/profile.php?id=100073238140964

 
2) andre birken - 31 monstrous demonstrations-  EFFO ISN C

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

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

 
3) Robert Gillespie – Legacy

A sound art collage of anthropophonic urban field recordings from Derry, Northern Ireland and London. Sounds including traffic, household appliances, heavy machinery and voices trace the story of my relocation from Derry to Richmond upon Thames.

Robert Gillespie is a multi-disciplinary artist from Derry, Northern Ireland, currently residing in London. He grew up during the Troubles and the difficulties and complexities of the era pervade his work in ways that may not be immediately obvious and at times counter intuitive.

@robert_gillespie_art

4) Thiago R - Instruções de desenho/Drawing instructions (2:23)
5) Evagelia Siarvali – krousis (1:05)
6) Brodie Ainsworth - The Dissassociate (11:00)
7) Luis Arevalo – Akasha (7:44)
 
 
4) Thiago R - Instruções de desenho/Drawing instructions

Instruções de desenho/Drawing instructions is a sound piece narrated by the artist Thiago R., in which verbal instructions guide the audience through exercises that promote drawing as a practice of freedom. The work is presented in two languages: Brazilian Portuguese, the artist's mother tongue, and English. The bilingual format seeks to establish a dialogue between listeners from the Global South and the Global North, based on drawing as a form of expression that goes beyond the simple reproduction of images and emphasizes its emancipatory character.

Thiago R is a sound artist and art teacher. He lives and works in São Paulo, Brazil. He holds a Master's degree in Fine Arts from the State University of São Paulo - UNESP. His hybrid artistic practice articulates relationships between sound, image, and their contexts, working across installations, sound pieces, event scores, drawings, etc. He recently participated in The Wrong Biennale - Kamîm Tuhut Pavilion, Sessão Encruzilhadas (online, 2024); and the Brazilian Electroacoustic Music Collection Mix-FOF-cv-bang! (online, Paraná, Brazil, 2024).
https://thiago-ruiz.blogspot.com
https://soundcloud.com/thiago-rrrrr
https://www.instagram.com/thiagor_na_escuta

 
5) Evagelia Siarvali – krousis

my work contains elements of nature in combination with percussion and
is edited on a computer. I am sending you the same in two versions

EVAGELIA SIARVALI PLACE OF BIRTH: AUSTRALIA PLACE OF RESIDENCE: THESSALONIKI DIRECTORATE Kragia 1Ampelokipoi sq. 56121 TIL.2310739726 MOBILE: 6973716080 MUSIC EDUCATION Degree Composition Byzantine Music CHOIR Student Club THESSALONIKI 2004-2006 Theodromes Byzantine Choir Church 2006-2009 Agios Konstantinos KORAIS 2007-2008 BYZANTINE Conservatory of Ampelokipoi 2009-2010,2010-2011 Dance Ensemble of St.Sophia Dance Thessaloniki 2002-2005 WORK: Music Teacher in Public Schools 1999-2000 2004-2005 Music lessons Now unemployed. MUSICAL INSTRUMENTS: a little piano guitar. FestIval competitions. 2009 in a musical composition competition, with modern music of the Municipal Conservatory of Neapolis, Thessaloniki, in collaboration with the Colorado Music Academy 2011 Competition Concert Fountouki Conservatory with modern

Twitter Evagelia Siarvali
Evagelia Siarvali blog
Facebook Ευαγγελια Σιαρβαλη

 
6) Brodie Ainsworth - The Dissassociate

The Disassociate by Brodie Ainsworth is a sound collage made during the composer's senior year of high school. The most consistent materials used throughout are a (typically reversed) audio of Erik Satie's Gnossiennes and a reading of a text by the composer, titled Dialogue One: Aromantics in the Park. The text is stylistically informed by writings by John Cage, such as Silence and M. The Disassociate also makes use of several hallmarks of the composer's electronic work, including disorienting panning changes and usage of crowd ambience. The piece showcases many episodes meant to demonstrate the feeling of panic in crowded spaces. The first main episode occurs while crowd ambience of an airport is played, and the second when the reversed audio of a hiogh school band playing a Sousa March, which follows audio of a marching band.

Brodie Ainsworth is a freshman at the Crane School of Music in SUNY Potsdam, NY, USA. He is pursuing a bachelors in composition. He lives in Corning, NY. Ainsworth is also a percussionist. He has had experience in competitive ensembles such as the Corning Painted-Post Competition Band, which has competed nationally in the US, and that town's Indoor Drumline. He has also marched internationally in parades such as the Ireland 2022 Saint Patrick's Day Parade, with the Corning Painted-Post Marching Band. He plans to compose for video games. He prioritizes eclecticism as a musical and compositional value.
https://www.instagram.com/verybluebrognie/
https://el-rombo.tumblr.com/

 
7) Luis Arevalo – Akasha

Akasha, the Sanskrit word for ether or the fifth element, represents the divine, the infinite, and the essence of all things. The music is inspired by this concept, aims to evoke a sense of timelessness and transport listeners to a realm beyond the material world.

By incorporating these elements, the music piece can become a sonic representation of Akasha, inviting listeners to step into the infinite and experience the essence of all things.

Luis Arevalo 1977 Composer, sound artist, cultural manager and yoga instructor. He studied composition at the Instituto Cardenal Miranda (CDMX), Associated Board in Music Theory Crisitism and Literature at Trinity College London (UK), postgraduate in Composition with New Technologies at the Universitat Pompeu Fabra (BCN). He has participated in several contemporary music festivals in Mexico, Germany, Canada, Cuba, Chile, France, Ecuador, Spain, USA, Guatemala, UK and Sweden. He has received support from the rockefeller foundation, unesco and VVCA.

https://open.spotify.com/intl-es/artist/6yZMoHavi6YAn1QNoqm5R7?si=fO_gcpXFRv-aaGOhpLbtEAhttps://soundcloud.com/luis-hilario-ar-valo
https://www.instagram.com/luis_harevalo/

In 2025 our public engagement team worked with four different local community groups over a period of several months. 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 below.

The works created during these workshops will be broadcast as part of a special afternoon listening event from 2pm – 4.30pm on Thursday 17th April 2025.


2.00pm
Flourish House – The Ballad of Rosebud and Taiko

2.45pm
Rumpus Room - We Spring From the Ground Up

3.00pm
Men's Shed Govan - Please Adhere to the Noise Nuisance

3.30pm
Boots & Beards - Tongue Trails

Our Workshop programme is supported by Creative Scotland.

Translation:
https://radiophrenia.scot/wp-content/uploads/2025/04/IRIDE-PROJECT-ROSINA_S-WINDOW-1.pdf
 
The story takes place in an Italian rural village.
Rusinelle, bedridden for years, dies alone in her bedroom. The window is closed and according to local superstition her soul gets trapped and can not ascend to Heaven, remaining at the mercy of the Devil. Her son Carmine feels the guilt of this accidental negligence. Funeral and burial follow carefully in a mix of Christian and Pre-Christian beliefs rooted in ancient Greek culture. The poor man is haunted by the thought of his mother's soul wandering in the World of the Living and so excluded from the Grace of God. Seeing that, a close friend of the family, driven by Christian faith and superstition, succeeds in getting in contact with the dead and finds out that the woman's soul is saved. A lifetime of humble and Christian behavior made Rusinelle worthy in the eyes of Jesus who gave her Eternal Salvation.

Artist bio:
Monica Miuccio & Massimo Daví began IRIDE PROJECT in 2013. Their electronic and Audio Drama works have been performed in Ireland, Italy, Mexico, Spain, Macedonia, United Kingdom, Finland, Germany, Czech Republic, Portugal and Ecuador in form of acousmatic performances, radio broadcasts and live shows. Monica is a performer and writer, her literary works have been awarded in various literary competitions and published in prestigious editions such as the Psychology magazine “Tecniche Conversazionali” (Milan, IT). Her scripts, poems and tales are the core of IRIDE PROJECT Audio Drama production. Massimo is a pianist and electronic/electroacoustic music composer.

'Barreiro Improvised' is an electroacoustic journey through the sonic landscape of Barreiro near Lisbon, Portugal. Using field recordings from the Cidade Som archives, the project recontextualizes everyday sounds of the city, from the natural ambience of the Tagus River to the noises of its industrial heritage.
Central to the performance is the Chaos Conductor, a custom Max/MSP instrument designed for spontaneous sound exploration and live soundscape creation. Introducing elements of unpredictability, it creates a unique dialogue between the performer and the machine that makes every live performance unique.
The OUT.RA creative grant 2024 winner 'Barreiro Improvised' made its live debut in September and culminated in a collaborative performance in Barreiro in December 2024.
This Radiophrenia broadcast offers an exclusive solo interpretation of the project. Live-streamed directly from Barreiro, it will feature the sound archive reimagined through improvisation, challenging listeners to discover the city's acoustic identity.

Artist bio:
Sound artist Jean-Philippe Drecourt is driven by a deep curiosity for sound's transformative power in reshaping our perception of our everyday soundscapes. Inspired by the World Soundscape Project, musique concrête's reduced listening and his engineering background, his music invites audiences to engage with the often-overlooked textures that surround us. After years of creating fixed media compositions, he now focuses on improvisation, blending field recordings with electronic manipulation through custom-built software to produce immersive, spontaneous performances. Having previously shared his compositional work on Radiophrenia in 2020, JP aka the Noise Wrangler is looking forward to sharing the fruits of his latest live sonic explorations.

Barreiro Improvised at O Espaço (Part 2) - https://www.youtube.com/watch?v=kQ8kAFGUw_U&t=1414s
Beached Thunder (early improvisation with the Chaos Conductor) - https://noisewrangler.bandcamp.com/album/beached-thunder
Website - https://noisewrangler.art/
Instagram -  https://instagram.com/noise_wrangler

1) Cerpintxt & Ruben Sonnoli  - Dweller in the Eye (3:38)
2) iT - Irena Tomažin - wanting needs - want it (2:18)
3) Carys Wall - El Poble (5:40)
4) I broke the vase - Sikinos (9.22)
 
 
1) Cerpintxt & Ruben Sonnoli ‘Dweller in the Eye’ 
 
From Cerpintxt’s debut album ‘microtubule encoded memory’, which was performed live at IKLECTIK Art Lab in Boundary Condition, 2023
microtubule encoded memory is a longform study in systematic harmonic erosion, materialised within a wall of cascading and spectrally smeared vocal layers, retrograding guitar pulses and speech-driven composition. a corrosive vocal terrain that is the backdrop against which skeletal frequency swells flicker. the cyclical narrative bleeds into an exploration of phonetic entropy mechanisms of autocomposition; voices without bodies reflecting off each other like a recurring dream.
 

2) iT - Irena Tomažin - wanting needs - want it 
From the album 'Crying Games'.
 

3) Carys Wall - El Poble

El Poble is a soundscape of a protest in Valencia, on the 9th of November 2024, when over a hundred thousand people demanded the resignation of the Valencian president in response to the DANA flooding which killed over 200 people and caused catastrophic damage. I took my recorder and ended up feeling compelled to make a record of this extraordinary time with so much anger, fear and grief in the air, as well as solidarity, resilience and hope. People chant "while you were eating, the people were dying" and "they're not deaths, they're murders".   
 
Carys Wall is an audio producer based in Spain who likes to Live, Laugh and Listen to Weird Audio. They have produced work for Short Cuts, the Food Programme and BBC World Service's Amazing Sports Stories.
https://www.instagram.com/soniquetesaudio/   
https://x.com/Ccaarryyss
 
 
4) I broke the vase - Sikinos 

This piece was developed the past summer during a residency on Sikinos, a Cycladic island in the Aegean Sea. The sound work is part of a larger performance that features original music and texts, written on-site and inspired by our exploration of the island’s landscapes and history—marked by pirate raids and its past as a place of exile. The work also draws on a recent tragic event: the disappearance of two women hikers, which left a lasting impression on our time there.

Artist bio:
I broke the vase (Eva Matsigkou, Nefeli Sani) was formed in 2018. They create performances blending listening, free improvisation, and composition using instruments, voices, electronics, and site-specific elements. Their work incorporates autoethnographic texts, soundwalks, and feminist, care-centered practices. They’ve produced the experimental film The Greatest Love of All and the award-winning podcast Sonic Memorabilia. Their projects have featured in festivals like Tectonics Athens and Electric Nights, and in exhibitions including Plásmata and Sheltered Gardens. They’ve been artists in residence at Syros Sound Meetings and the University of Michigan, and participated in 2023 Eleusis European Capital of Culture.

Website/social links
https://rekemrecords.bandcamp.com/album/--3
https://ibrokethevase.wordpress.com
https://www.instagram.com/ibrokethevaseduo
https://www.facebook.com/Ibrokethevase
https://soundcloud.com/ibrokethevase

Year of the Dragon. A mother draws a circle. Spins round. Pins everything but the tail on the donkey. She wants to know how the dragon makes fire, gets inside it. On the inside things slow. Written in the Year of the Dragon, Zara Joan Miller’s long poem traces fire across a year. The figure of Saint Margaret, who freed herself from the belly of a dragon, is relocated in living voices that challenge structures of oppression today. A year of feeding fire, of dousing and soft loving. A mother waits in disguise by the fire exit.

Zara Joan Miller is an artist working across poetry, performance and film. Her work seeks to unravel boundaries between human and non-human nature, often playing with movement and sound as a way of reimagining a body’s rhythm. Zara is the author of poetry collection BLUE MONDAY (JOAN Publishing, 2022), which was also released as a duo LP with cellist Ute Kanngießer (Reading Group 2023). Her work has recently been presented at Barbican Centre, Muse Gallery, Horse Hospital, Cafe OTO (London), In Vitro (Brussels), Default

Year of the Dragon is co-commissioned by TACO! and blurt. blurt is an experimental platform supporting artists to develop text-based works for live reading and performance, and synchronous live-to-air broadcast on rtm.fm. In this testing-site for testing text, four artists and artist-groups consider radio broadcast as an expanded form of publishing. This co-commission is supported by the Outlands Network Exchange programme.

https://taco.org.uk/About-Us
https://zarajoanmiller.com/
https://outlands.network/

‘Tumut’ listens to Grey-headed Flying-foxes waking and heading out from their colony on an island in the Tumut river, below the town of the same name. The river flows through Wiradjuri Country in Australia. Recorded using an ambisonic microphone, the piece tracks an encounter between the flying-foxes, some of their neighbors, and the recordist. Flying-foxes cover great range and are found all along the east coast of Australia but have been documented to be moving south and becoming more localized in specific areas over the last decade, threatened by habitat destruction, global warming, extreme weather events, and food scarcity. The flying-foxes are important to healthy ecosystems, pollinating and dispersing the seeds of key tree species, but are often regarded as pests. The name Tumut is thought to be derived from a word for the area in the local Aboriginal language Wiradjuri, meaning 'quiet resting place by the river'.

Artist bio:
Ben Byrne is a listener. He creates and inhabits situations for listening that foster experimental, ethical, and sustainable ways of being in response to technological pressure, climate crisis, and hegemonic power. This involves ongoing listening, making sonic works, commissioning and organizing sonic programs, teaching, writing sonic theory, building community connection and engagement, and working to preserve and archive sonic practice.

Website/social links
https://www.benbyrne.com.au/
https://avantwhatever.org/@benbyrne

"Camadas verticales" is a collage of times and spaces. Of objects and landscapes. Of gestures, textures, paths and movements. It was made from field recordings taken between 2020 and 2022 in the interior of Rio de Janeiro, Brazil.

Verónica Cerrotta: Field recordings and composition.
Federico Fragalá: Mastering.

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

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

J'ai pensé sans paroles - Duo performance by Luke Fowler and David Grubbs with sound material provided by Brunhild Ferrari. Recorded live at the Glad Café, 15th March, 2025 at a special Radiophrenia pre-festival event. Luke Fowler is an artist, filmmaker, and musician based in Glasgow. Fowler creates poetic portraits with 16mm and archival material. His most recent series N’importe Quoi focuses on the life and work of Brunhild Ferrari, whilst previous subjects include radical psychiatrist R.D. Laing, Marxist-historian E.P. Thompson, Scottish filmmaker Margaret Tait, and Fowler’s mother, the sociologist Bridget Fowler. He is represented by The Modern Institute and Gisela Capitain Galleries and is a core member of the groups Rude Pravo, Lied Music, and AMOR.   David Grubbs is a musician and writer based in Brooklyn. He was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, Loren Connors, Susan Howe, and many others. His books include Good night the pleasure was ours, The Voice in the Headphones, Now that the audience is assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (all published by Duke University Press). Grubbs is a 2024-25 Berlin Prize recipient from the American Academy in Berlin as well as Distinguished Professor of Music at Brooklyn College and The Graduate Center, CUNY.   BRUNHILD FERRARI: “Like most of my fellow human beings, I was born, I grew up, I attended schools, I passed exams, I failed, I loved, I worked hard sometimes, I enjoyed life; I continue. I worked with Pierre Schaeffer in the ORTF research department on the relationship between sound and image. Of German origin, I have had an activity as an interpreter and translator. Following Luc Ferrari's advice in matters of life, music, and composition, and working with him over the course of our 40 years together, I made my own Hörspiele and radio plays broadcast on France Culture, in the United States, and the main German radio stations. Since Luc left us in 2005, I have taken care of the preservation of his vast archives; founded the "Association Presque Rien - Friends of Luc Ferrari"; initiated and organized the biennial

Recorded live at the Glad Café, 15th March, 2025 at a special Radiophrenia pre-festival event.


Refugees of the Symbolic Network / أَسيرًا في مَصانعُ الحُلمُ is a hauntology series of Palestinian resistance and funeral music spatialized in the convolution reverb of the King's Chamber of the Giza Pyramid. Mainly deconstructing the work of the Izz al-Din Manasirah & Sargon Boulus. Some research suggests that the Great Pyramid could have functioned as a kind of geovibrational resonant amplifier on account of its construction of granite, a resonant quartzbearing rock which appears to have been tuned to precise frequencies. On a site visit to the King’s and Queen’s chambers of the Giza pyramid, the impulse response of the chambers was acquired. This impulse response is then mapped onto convolution sound effects, transposing the performance within the spectral footprint of the chambers. 
 
The live performance involves reading selected excerpts in a compositional speech system; multi-layering of utterances and organums over several cycles, until a new language or syllabic melody is unearthed. The prime resonant frequencies of the chambers continue to sculpt the compositional material, by accentuating the words’ phonetic motifs as the piece unravels. The idea is using speech as an instrument whose tonal or dynamical structure arises solely from the weight of the words, and how they interweave to reveal harmonic ciphers embedded in the fabric of the language and contexts which created it. This process is an inquiry into the ritualistic nature of submission to utterance as a spiritual force. It seeks to precipitate a funerary sonic practice; a type of chant to mourn and resist in the same breath. To perpetuate the writers’ voices not by merely echoing them; but by roaming their caverns of dialectical systems, as form of resistance to oppressive and colonialist forces. To paint a tapestry of voices of the forsaken, refugees of the symbolic network, the countless “lives buried in the belly of the whale that is called history”.

Biography:
Cerpintxt is an electroacoustic progress report concerned with generating an invented language of a particular strain of softness through phonetic entropy and augmented instrumentation. Working with cut-ups and dialectical chaos magick to dissipate the parasitic structures of language, blending ritual with precision in an exhaustive process of erosion into protoconversation. The textural counterparts include wind instruments, broken turntablism, tape recorders, granular and modular synthesis.
Refugees of the Symbolic Network – أَسيرًا في مَصانعُ الحُلمُ is a series of funeral music spatialized in the convolution reverb of the King’s Chamber of the Giza Pyramid, transposed within the spectral footprint of the chambers. Deconstructing the work of the Izz al-Din Manasirah & Sargon Boulus, the pieces deploy speech as an instrument whose tonal-dynamical structure reveals harmonic ciphers embedded in the fabric of the language. An inquiry into the ritualistic nature of submission to utterance as a spiritual force, to sculpt a cavern of voices of the forsaken, refugees of the symbolic network. 
 
https://www.cerpintxt.com

A man visits the Scottish Highlands for a winter break. On his first night he has what can best be described as an unusual experience. The following morning he telephones a friend in Surrey and recounts the events of the previous evening.     Man in the Highlands - Guy Gregory  Man in Surrey - Jonathan Bohman  Dobson - Adam Bohman  "John" - Jonathan Bohman     Writer - Richard Thomas  Music and sound design - Richard Thomas  Field Recordings and Foley - Jonathan Bohman  Additional music cues – Secluded Bronte, Wagner, Schubert, Mendelsohn.     Recorded at 360, 35 and on location.  A Phone Call From The Highlands is a Secluded Bronte production.

Rémanence is based on found materials, recorded by amateur sound hobbyists in France and Germany between the 1960s and the 1990s. The tapes and cassettes were collected in the two countries in Summer 2023, while on trip to investigate the sonic practices of French and German sound hunters. People were interviewed, and sonic material gathered. Sound hunters were amateurs interested in sound, who, from the 1950s, started to produce radio programmes, to organise national and international contests, to edit magazines, to gather themselves in tape recording clubs. This piece documents and poeticises their activities, that ranged from family recordings, to musique concrète, to the recording of bird songs, to the soundtracks of amateur films, to music, interviews and audio documentaries. Short electroacoustic compositions by me link and sometimes frame sound hunters’ recordings. The tapes and cassettes of this piece were collected thanks to a funding from the Deutsch-Französischer Bürgerfonds. Artist bio: Jean-Baptiste Masson is a composer and researcher working on the cultural history of listening. His music is interested in beatings, the dramatisation of listening, the dynamism of stasis. After a PhD at the University of York, he is at the moment a Marie Skłodowska-Curie / Bienvenüe fellow based at the Université Rennes-2 and a research fellow at the Cinémathèque de Bretagne, where he works on a manual for the restoration of the sound of amateur films. Website/social links jbmasson.com jbmasson.bandcamp.com

Transmitting Life from Deep Black Holes harnesses a fusion of clipped and modified samples from diverse sources. These include snippets of sound transmissions from interplanetary probes that have journeyed through our solar system, intertwined with recordings of drones emanating from the machinery of Brazilian mining corporations, which carve massive cavities in the earth akin to entire neighborhoods. Additionally, it incorporates excerpts from interviews, lectures, and conversations broadcasted by the Brazilian media in recent years.

By appropriating the electromagnetic waves permeating the cosmos, those pulsating within the Earth's core, and those engendering our collective existence, Transmitting Life from Deep Black Holes aims to stimulate contemplation on our existence and our interconnectedness with our environment. These electromagnetic waves transcend human agency, embodying manifold meanings and interpretations regarding our impact on and reception from our surroundings.

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

Website/social links
http://www.fredericopessoa.net
@f__pessoa
https://www.facebook.com/frederico.pessoa.50/

1) IRIDE PROJECT & BERNARD CLARKE - The Witches of Montenerodomo (13:16)
2) Volker Ignaz Schmidt – EISSCHMELZE (8:06)
3) Katrina Brown & Frankie Williams - On Field Crossing (12:57)
4) Evamaria Müller - à l’heure du crepuscule (17:20)
5) andre birken - 31 monstrous demonstrations  -  TANZ MIT OLAFUR ELIASON (6:36)

 
1) IRIDE PROJECT & BERNARD CLARKE - The Witches of Montenerodomo

"Le Streghe di Montenerodomo" by Monica Miuccio was published by Keltia Editrice © 1996
(Aosta, Italy) after winning the Second Prize at "Ti Voglio Raccontare" Keltia's literary contest.
English adaptation and narration by Bernard Clarke.
"The members of an archaic community embody their fears of natural calamities in a
manifestation of Devil: Witches. The people engage in a fight against them revealing that
their superstition is not rooted in mere ignorance, but in a pre-Christian belief that their
isolation has preserved, and that now lives side by side with the Word of Gospel. But more
than prayers and magic can their sense of unity and by relying on each other in a circle of
strength they defeat the Witches in the very same  moment they defeat fear. So strong is
their belief in their actions that history takes the shape of their creed, turning reality into a
legend".

Monica Miuccio & Massimo Daví began IRIDE PROJECT in 2013. Their works have been performed in Ireland, Italy, Mexico, Spain, Macedonia, United Kingdom, Finland, Germany, Czech Republic, Portugal and Ecuador in form of acousmatic performances, radio broadcasts and live shows. Bernard Clarke is a radio broadcaster (RTÉ lyric fm). He either won or been a runner up in the Prix Marulic, URTI, Grand Prix Nova, Prix Italia, Prix Europa, Prix Phonurgia Nova, Black And White, New York Festivals. His works have been broadcast in Ireland, Croatia, Romania, Germany, France, Austria, the Netherlands, the Czech Republic, the USA, Spain and Australia
https://irideproject.bandcamp.com
https://www.facebook.com/irideproject

 
2) Volker Ignaz Schmidt – EISSCHMELZE

The installation uses underwater sound recordings of melting polar ice shelf recorded by the Alfred Wegener Institute.
These soundscape recordings interact with sounds produced by the audience as well as with the movement of the audience in the room captured by an ultrasonic sensor. The sounds get mixed up, enriched with a pathetic cello drone tone and morphed using granular synthesis.
Timbre, space and form of the installation is controlled by aleatoric processes and by sound and movement actions of the audience in the room.
This creates a fragile and psychotic sound ecosystem.
The 4-channel installation is realized with Pure Data in combination with an Arduino controlled sensor setup. This is a 2 channel excerpt of the installation.

Volker Ignaz Schmidt (born 1971 in Germany) studied computer science although his passion is music. He has composed solo works, chamber music, vocal pieces, orchestral music, one opera, conceptual and electronic music. He has written piano textbooks and he worked in school projects on contemporary music.
http://www.volkerischmidt.de

 
3) Katrina Brown & Frankie Williams - On Field Crossing

On Field Crossing is an audio work for radio exploring ideas of time, place and (dis)orientation, based on a long spring walk up St Cyres Hill on the outskirts of Honiton, East Devon. Walking up one side of the hill in late afternoon sun, crossing over the hill plateau in gradually fading light and rising full moon, walking down the other side of the hill to arrive on the edge of Honiton in the dark. We were following the route on the OS map but somehow became lost. A narrative of two walkers navigating their way home, buzzard views, mischievous forces at play and misplaced time already starting to evolve, later fed by research on topography, geology, town borders and folklore.

Written and performed by Frankie Williams and Katrina Brown.
Creative sound production by Shelley Hodgson.
‘Turn Your pockets inside out’ musically arranged and sung by Darcey Williams.

Artist Frankie Williams combines video, photography, performance and writing in explorations of interior and exterior landscapes of the self, memory, place and time - uncovering what is beneath the seemingly ordinary as a way for viewers to experience or glimpse a different perspective of what might be overlooked and multiple stories and voices human and non-human.
https://www.frankiewilliams.art/
https://www.instagram.com/frankiewilliamsart/?hl=en-gb 
 
Choreographer Katrina Brown has a hybrid research-based arts practice; working experientially through the body in an entangled process of moving, drawing and writing from which to gather sensory-visual-sonic-textual data. Her work is presented as performance-installation events, written-graphic scores, text-image publications and voice-sonic pieces.
https://katrinabrown.net/projects/
https://www.instagram.com/katrina_a_brown/?hl=en-gb

 
4) Evamaria Müller - à l’heure du crepuscule

An evening walk through a small water-rich village in the French Pyrenees in summertime. The open windows and doors, the transition from day to night allow for a complex soundscape between the going to sleep and the waking up of different creatures. These field recordings are accompanied by a synth-heavy improvisation with tape loops and effect pedals.

In her artistic research, Evamaria Müller uses sound and recording to investigate the forming of landscapes and the natural, technical and cultural mixing processes involved. By directly engaging with specific places, their histories and their acoustic signatures, her works examine the sounds, structures and objects of our environment to emphasize the voices they contain.
http://www.evamariamueller.net
Instagram: gmorrk

 
5) andre birken - 31 monstrous demonstrations  -  TANZ MIT OLAFUR ELIASON

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

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

Eugenio de Almeida's famous stage piece re-interpreted for radio.
A dramatic piece, narrated by the late Guilherme Freitas from Brazil, with music by Marcel Schweder from Germany.

I dislike small talk. But I love meaningful conversations, or simply deep listening. On my forays through the world, I walked through landscapes, museums, religious processions, bars, theater rehearsals and exhibitions. I accompanied a dear friend to the dentist, made field recordings, noise sessions, radio plays and gave vocal improvisation work shops or played music on corduroy cushions.

The title conversations with nobody refers to the play Frei Luis De Sousa, The Portuguese Macbeth of sorts, which contains the line: Who are you? The enigmatic answer is Nobody, Ninguém (neengame). I supplemented the already ironic 1844 play with an acid commentary by a narrator, because history, like all reality, is subjected to interpretation. This is a recycled radio piece, a commissioned work that was rejected, and became an acoustic dream journey through the human condition – a fall into inside depths, reflecting what I think of as molting: shedding a skin in order to change. Listening to one's own thoughts can be like a conversation with no-one … else. I challenge you to empty your mind!

(With orchestral Music courtesy Marcel Schweder and the Voices of Guilherme Freitas, Sigtryggur Sigmarson and others. Thanks to Midus Chambel, Lourdes Nobre and Miguel Pacheco.)

Dedicated to Frank Hühnerbein †

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

Website/social links
https://www.facebook.com/AndreBenBirken
https://www.linkedin.com/in/andrebirken/
https://www.instagram.com/b_i_r_k_e_n/

Eugenio de Almeida's famous stage piece re-interpreted for radio.
A dramatic piece, narrated by the late Guilherme Freitas from Brazil, with music by Marcel Schweder from Germany.

I dislike small talk. But I love meaningful conversations, or simply deep listening. On my forays through the world, I walked through landscapes, museums, religious processions, bars, theater rehearsals and exhibitions. I accompanied a dear friend to the dentist, made field recordings, noise sessions, radio plays and gave vocal improvisation work shops or played music on corduroy cushions.

The title conversations with nobody refers to the play Frei Luis De Sousa, The Portuguese Macbeth of sorts, which contains the line: Who are you? The enigmatic answer is Nobody, Ninguém (neengame). I supplemented the already ironic 1844 play with an acid commentary by a narrator, because history, like all reality, is subjected to interpretation. This is a recycled radio piece, a commissioned work that was rejected, and became an acoustic dream journey through the human condition – a fall into inside depths, reflecting what I think of as molting: shedding a skin in order to change. Listening to one's own thoughts can be like a conversation with no-one … else. I challenge you to empty your mind!

(With orchestral Music courtesy Marcel Schweder and the Voices of Guilherme Freitas, Sigtryggur Sigmarson and others. Thanks to Midus Chambel, Lourdes Nobre and Miguel Pacheco.)

Dedicated to Frank Hühnerbein †

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

Website/social links
https://www.facebook.com/AndreBenBirken
https://www.linkedin.com/in/andrebirken/
https://www.instagram.com/b_i_r_k_e_n/