Sat 19

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Contains elements of: The Path By Ivor Cutler. Women Gathering Mushrooms: The Book of Music & Nature: An Anthology of Sounds, Words, Thoughts, David Rothenberg & Marta Ulvaeus. Music of the Babenzele people and sounds of their forest home.

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

Dai Koelakanth irate ranter curmudgeon skinflint here we go again RADIO GRAVEYARD six hours of bad sound hiss fuzz buzz trench warble despite it all the lad always does his best he is a living wart poet film maker artist villiany in the rear view who knows when those skills will be called upon again life can be rough hello listeners I love you all...
 
https://dkoelakanth.neocities.org/

The Weaver is the debut solo album by the multidisciplinary artist and Discipula collective member Marco Paltrinieri. Merging spoken words with field recordings, electro-acoustic textures and relics of found melodies, The Weaver brings to life, across 6 movements, the memories and thoughts of a creature living in a world in which the distinction between reality and simulation, as well as between psychic space and external environment seems to have definitely collapsed. The album stems from Paltrinieri’s ongoing interest in the cognitive and perceptual mutations caused by the irreversible technologization of our lives. Drawing upon the speculative power of fiction, The Weaver aims at creating a multilayered and non-linear narrative in which sounds and words are used to conjure images from an unknown and yet unsettlingly familiar dimension. Inspired by the imaginative power of musique concrète masters such as Pierre Henry and Luc Ferrari, by the early experiments of the American composer Robert Ashley and by the enigmatic short stories of Buzzati, Kafka and Ballard, The Weaver represents a new step in Marco Paltrinieri’s practice; an attempt to bring together his interest in sound and writing with some of the themes that have always characterised his research: the multifarious effects of technology on human psyche and consciousness, the re-engineering of reality by systems of power and the adoption of surrealism and existentialism as strategies through which to investigate the contemporary. Music and Words: Marco Paltrinieri Voice: Lucie Page Additional Mixing: Nicola Ratti Mastering: Giuseppe Ielasi *** Marco Paltrinieri has been a member of the post-punk band To The Ansaphone and he is a founding member of the artistic research collective Discipula whose works have been exhibited in galleries, museums and festivals in Italy and around the world. Working with sound, video and writing, his solo practice is concerned with humanity’s struggle between advancing technology, decay and mortality.

Takayna holds the largest ancient temperate rainforest in Australia, stretching across the northwest of Tasmania. This soundscape meanders through tall trees entangled with ferns. Gently flowing rivers. Mosaics of vibrant mosses and fungi. An ancient sinkhole alive with frogs, birds and underwater insects. Rich, wet soil. Deep green. This is one of the last undisturbed Gondwana rainforests in the world. Like many forest sites in Australia, it is threatened and surrounded by logging. Recorded as part of a collaboration with visual artist Sammy Hawker (@sammyhawker), recorded with a stereo mic and hydrophone.
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/sets/isafjordur-etc
jessica-hamilton.com
@mahssej

1 Awadh Baryoum - From the Fruits of a Suspended Ode (1:17)
2 Pablo Paniagua - The States of Water - Chubut River (14:31)
3 Ben Gaunt - Air Arc Air (4:00)
4 Alistair Zaldua - the sea bass (6:24)
 
 
1) Awadh Baryoum - From the Fruits of a Suspended Ode

This project represents the culmination of my experimental studio practice, where I seek to bridge my passions for language and painting. By juxtaposing texts and paintings, I explore the interactions between these mediums, creating non-linear narratives that are deeply personal. At the heart of this work is the South Arabian alphabet, also known as al-Musnad, which dates back to the 9th century BCE and is distinct from modern Arabic script. I have revived this ancient writing system, adapting it to the Arabic language by introducing new vowel characters. This led to the creation of a custom typeface that facilitates the digital production of Arabic texts using the South Arabian script. Beyond its linguistic innovations, this project examines the relationship between word and image, challenging traditional artistic boundaries.

Awadh Baryoum, an Ethiopian-born Canadian artist, was raised and educated through university in Aden, Yemen. He holds an MFA from the Savannah College of Art and Design in the United States. Baryoum is a recipient of a Fulbright scholarship and a research grant from the Canada Council for the Arts. His works have been widely exhibited in the United States.
https://www.instagram.com/a.baryoum.art/

 
2) Pablo Paniagua - The States of Water - Chubut River

This piece explores the territorial tension caused by megamining and its environmental impact. From a posthumanist perspective, it challenges the anthropocentric view by using sounds captured from the Chubut River, combined with improvisations on an oscillator, a homemade monochord bass, and audio processing. The work aims to reflect on our activities' impact on aquatic ecosystems and encourages rethinking our relationship with nature as a dynamic system rather than just a resource. It was selected for the Chicharra Festival 2023 in Spain, presented in a 14-channel format for an immersive experience.

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

 
3) Ben Gaunt - Air Arc Air

This piece was composed in response to the work "Walking in Air in Glasgow" by Emmanuelle Waeckerlé and Will Montgomery, part of the RMA Music and/as Process Conference: Environment, Space & Place (28th - 30th June 2024, University of Glasgow).

After being provided with provocations/guidelines on how to "walk in air", participants went for a stroll, and then were invited to "take some time to reflect upon our experience and gather our traces (words, images, recordings...)"

This composition is my trace. I respond not only to the prompt above but also to the conference as a whole. I recorded air sounds within and outside the Advanced Research Centre (ARC), both naturally occurring and artificially created (e.g. air conditioning units).

Ben Gaunt is a composer, sonic artist, and improviser. He has written for the London Symphony Orchestra, London Sinfonietta, Grimethorpe Colliery Band, and many other lovely people. He has been nominated for an Ivor Novello Award, a British Composer Award, and is Professor in Composition at Leeds Conservatoire.
https://www.bengaunt.com/
https://x.com/bencomposer
https://www.bengaunt.com/epk-sonic-artist-and-composer

 
4) Alistair Zaldua, Lauren Redhead & FLOW Duo - the sea bass

These recordings bring together disparate musical energies in response to three texts created by Lauren Redhead. The performers are Stephen Altoft (19-tone trumpet and flugelhorn), Alistair Zaldua (e-violin), and Johannes Nied (contrabass). Recorded in August 2024 at the Experimental Studio (SWR) in Freiburg, they comprise improvised responses to the experimental writing. In each piece, the text was first read aloud and then the response recorded. The titles are: ‘the sea bass’, ‘prompts for analysis’, and ‘hearing protection’. The texts were made via Oulipo inspired processes and reflect the range of sources from which they are drawn: a recipe database, a guide to graphic notation, and a reflection on the 1980s geography of Manchester. The result is a confluence of ideas, sounds, tuning systems, and extra musical meanings.

Lauren Redhead is an organist, a composer of experimental music, and a musicologist who writes about the socio-semiotics of contemporary musics.
Alistair Zaldua is a composer, conductor, violinist and improviser. Both Alistair and Lauren are based in Manchester, UK.
FLOW Duo is Stephen Altoft (trumpet, flugelhorn) and Johannes Nied (contrabass) and has existed since summer, 2021 solely as an improvisation duo, and is based in Freiburg, Germany.

Lauren Redhead website: https://laurenredhead.eu/about
Alistair Zaldua website: http://www.alistair-zaldua.de
Stephen Altoft website: https://www.stephenaltoft.com
Johannes Nied: https://cnz.ch/johannes-nied

5 James William Lansdowne - Streaming Music (15:59)
6 Hans Kadensia - _L00P_ (7:14)
7 Una Walker  - I, a solitary drama (1:00)
8 Radio Noise Duo - Run Time Errors (8:17)
 
 
5) James William Lansdowne - Streaming Music

the piece takes the form of a Stream but with individual, identifiable tracks (with field recordings made across Britain), beginning with a thunderstorm in London; an electrical point of focussed energy,ending as a continual process of re-energisation through synchrony, embedded intelligence, and the ultimate fact that everything changes.

With works spanning from internet anti-pop to pure sonic art, he balances light and dark, minimalism and maximalism, loud and quiet, in a way which echoes through time.
https://open.spotify.com/artist/0OoxvLuwVsh4Km7iwuKgO8?si=DwNfDG0HQe2fcvAcsX7bNA

 
6) Hans Kadensia - _L00P_

_L00P_ is a composition for cello and tape, featuring my recordings of sounds such as crickets and waves. This piece aims to offer a new perspective on how we hear and engage with the sounds of nature. In this work, I seek to confer a powerful dimension and sovereignty to my samples, making them independent within the composition. In this way, nature violently reclaims its rights, asserting itself in the sonic space. The cello interacts in a duet with the tape throughout the piece, imitating the most organic textures possible. Through this work, I aim to denounce and expose current environmental issues, inviting the listener to reflect on our relationship with nature.

Hans Kadensia (Olessia DUPUY) is a 20-year-old French cellist, improviser, and electroacoustic composer. Her work blends the cello with environmental samples, which are reworked and used to create tape. In her pieces, the cello takes a central role, transformed in real-time with effects and interacting with the tape. She aims to fuse technology and music, allowing them to evolve together. Olessia's classical training is fundamental to her artistic approach. She began her studies at the Lyon Conservatory and performed with the Youth Orchestra of the Orchestre National de Lyon under Victor Jacob while exploring solo improvisation on stage.
https://www.instagram.com/hans.kadensia/

 
7) Una Walker  - I, a solitary drama

A solitary walk in the forest, the crunch of gravel underfoot, bird song, incessant cawing of crows, and an internal monologue, searching for self.

Una Walker is an artist and writer based at Flax Art Studios, Belfast and has exhibited extensively in Ireland and internationally, making site and context specific installation and audio and video works. Site specific installation works have been constructed in diverse locations including military fortifications in Ireland, Scotland and Finland, a derelict factory in Poland, and  cathedral in Wales. During the Covid lockdowns she became acutely aware of the immediate surroundings of her home in County Down, and started making audio field recordings. A series of audio and video works followed including I, a solitary drama.
http://www.unawalker.com
@utwalker00

 
8) Radio Noise Duo - Run Time Errors

The piece uses Software-Defined Radio architecture, which processes the sounds of tabla and electronic devices. Such an operation preserves the charecteristics of percussion sounds while generating digital errors. These in turn become the canvass for, created live, musical structure. Consequently, the radio space influences the sound of the whole. The radio becomes a kind of musical instrument.

Tomasz Misiak and Marcin Olejniczak (Radio Noise Duo) from Poland  - looking for inspiration in electricity, radio noise and amplified everyday objects. Earlier the musicians were associated with groups like kalEka (Misiak) or Monopium (Olejniczak), but they also had some solo projects. Radio Noise Duo is a part of Radio Noise Orchestra- still continuing initiative focused on radio noise in various artistic activities.
https://www.facebook.com/AntennaNonGrata
https://antennanongrata.bandcamp.com/

Mary Farfisa is an eight-year-old space-girl who travels the Galaxies on her space-horse, Briscoe. Mary goes from planet to planet, searching for “songs and sounds and music and noise” to share with the rest of the Universe. Mary catches the songs and sounds and music and noise in her “audio lasso.” Then she brings them to the Listener’s Library – an intergalactic collection of sounds, curated by music-loving super-beings called the Listeners. 'Mary Farfisa's Outer Space Radio Theater' was heard every Saturday morning for two years on local station KSZN in Flagstaff Arizona. Its entire run is available now as podcast.   In this Episode -   MARY GOES TO SCHOOL - Mary Farfisa is terrified when she finds out she has to go to School. Will she have evil teachers? What if the other kids don't like her? And what if an intergalactic emergency happens, while Mary is stuck in class doing nothing?   A children's radio series written and produced by Jim Cheff. Starring Cara Alboucq, Isaac Andrews, Nancy Andrews, Leslie Baker, Jim Cheff, Katie King, April Stalder and Jag Thacker, featuring music by Tim Young. ©2017 Jim Cheff, All Rights Reserved.

Neolithic Cannibals is a socially engaged sound art project and exhibition from the young people of Whitehawk and East Brighton, and artist Simon James, who was born and raised in Whitehawk. As part of the Class Divide campaign for fairer education, the project confronted issues of stigma and what it means when we listen to the unheard and invisible. Textures, shapes and patterns derived from archaeological materials place the Neolithic Cannibals soundscape deeply within the heritage and history of Whitehawk in Brighton. The listening spans thousands of years, from Neolithic Flint Knapping to the early 20th century geophysical techniques used to discover Whitehawk Camp, and now the young artists from Whitehawk creating a contemporary artefact using the sounds of their environment. Communities connecting across thousands of years through listening.

Artist bio:
The artists are a group of young people from Whitehawk in East Brighton, uninhibited by experience or knowledge and any preconceived ideas of what sound art should be. They bring an instinctive, playful and raw energy; turning sounds inside out, carving new shapes, oscillations and resonances. Supporting them is Simon James, a self trained sound artist and composer engaging in deep listening to the unheard and hidden - mixing environmental field recordings with electronic and electroacoustic sources.

Website/social links
http://www.simonsound.co.uk

Utopia has been in our consciousness since the beginning of humanity. Where is this elusive land of equality and happiness and how can we enter? Utopia M&m invites you on an exploration of the utopian ideal, a journey into the past as well as the future. Fusing prerecorded texts and music fragments with a live performance this interlaced audio piece creates a rich tapestry that plays with perception, form and genre. Wander with us through a space filled with dreams, political activism, philosophical dispute, belief and disbelief. What do Thomas More, the mysterious voice, Plato, Robert Owen and the miracle of Wörgl have in common? Are you in or are you out? Join our utopian quest into a land of skepticism, aspiration, reflection and hope.

Artist bio:
Gabriele Heller is a German born artist working across theatre, music, live art and sound. She is the director of theatre-between, part of Tuesday’s Childe theatre collective and member of various jazz ensembles. Gabriele holds an MA in German Literature and Theatre studies and is a founding member of the fast food theater, Munich. Gabriele worked as an assistant audio director at the Bavarian Radio Broadcast and as a tutor in Northumbria University and Newcastle University. In 2011 she co-directed the Festival Robert Walser in Newcastle. Since 2001 Gabriele lives and works in Newcastle upon Tyne, UK.

Website/social links
http://www.gabrieleheller.com ; https://www.johnpopebass.co.uk ; https://johngarner.co.uk ;

In Dredging Echoes (Watersilver) aspects of stealth, scavenging, (counter)surveillance and the commons are intertwined through an exploration of the hobbies of two individuals, a Zombie Satellite Tracker and a Magnet Fisher. The piece uses the echo as both concept and effect to explore fields and forces invisible to the human eye. Bringing to light covert activities, hidden pathways and the delicate line between physics and magic. Composed with custom built musical instruments that harness the power of magnetic fields and weaving through investigations into bat echolocations, underwater field recordings, electromagnetic phenomena and the sun-earth connection. The work was made because radio is magic, to pay homage to the obsessions of amateurs and hobbyists and to embodied knowledge that sits outside language.  Insta: @bexsik

1 ) Johnny Dixon - Daily Bread  5 (5:00)
2) Hexakaidecagon (3:53)
3) Ecka Mordecai - la charnière II (1:12)
4) Niko-Matti Ahti - Kaivajaiset Part 1.3 (6:51)

1 ) Johnny Dixon - Daily Bread  5 
 
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) Hexakaidecagon -

 
3) Ecka Mordecai - la charnière II
From the album Promise & Illusion 
 
 
4) Niko-Matti Ahti - Kaivajaiset Part 1.3 
From the album  Kaivajaiset
 
Best known for his work alongside his partner Marja as Ahti & Ahti, Niko-Matti has been an active participant in the Finnish underground since the late 1990s. "Kaivajaiset" is his first solo recording and was originally conceived of as an installation. Part horspiel, part musique concrete, it is a piece of music that draws comparisons to the work of pioneering avant-garde composers such as Henning Christiansen, Annea Lockwood, Luc Ferrari, and Pierre Mariétan. Ahti weaves vivid foley and domestic recordings together with oration and classical instrumentation (violin, clarinet, bass clarinet, and flute) to arrive at an expansive, narrative, and at times thrilling composition. “Kaivajaiset" was exhibited in two Finnish galleries: B-Galleria in Turku (2019) and 3H+K in Pori (2020). The installation drew inspiration from The Diggers' 1649 pamphlet and Michel Foucault's extension of Friedrich Nietzsche’s concept of genealogy, and consisted of sounds, opinion pieces, a print copy of the pamphlet, and four cardboard collages. This record is a summary of the sounds of the installation.

Cadogan Street, girl with Ribena box attempts to describe a moment of complete absorption: a stranger on a Glasgow street, a child, stopping to sip from a juice box. Selected from a series of sketches that witness people in states of intense concentration, observed over days Kilmartin spent walking Glasgow’s inner city grid, the poem is expanded, looped, erased and supplemented in an editing process that, like the writing, tries to get inside the unexpected corners of a consuming, if fleeting, everyday experience. Written, spoken and edited by Ash Kilmartin with bass improvisation by Dada Phone. Produced as part of a residency / exchange with Radio WORM, Rotterdam. Ash Kilmartin is an artist and radiomaker from Aotearoa New Zealand who lives in the Netherlands. She is interested in the uses and meanings of the speaking voice and in finding ways to document the small moments of private and collective experience that shape the way we think our own lives. She likes to play with the gaps. She holds an MFA from the Piet Zwart Institute, Rotterdam. From 2020 to 2022, she opened the doors at a shop called LIFE. Since then, she is part of the team behind Radio WORM, and the publishing collective Short Pieces That Move! ashkilmartin.net radio.worm.org

1) Diana Duta - death watch beetle (8:08)
2) Mark Griffiths - We will forget their songs (6:23)
3) Petri Kuljuntausta - The Big Reveal (In C) (10:35)
4) Craig Stewart Johnson - Passages and Combinations (15:00)
 
 
1) Diana Duta - death watch beetle

An invitation to embody a yew tree through tuning into its particular aural experience – populated with sounds of dragonflies, beetles, slugs, dust, crows and other creatures from its immediate environment. The piece was commissioned for ‘Whisperings of the taxus trees’ - a research initiated by Karolien Polenus exploring the history, energetic power, and properties of the Taxus tree. The project aims to highlight the importance of nature in the urban landscape and to remember that we are all nature, and that we connect with her at any time.

Diana Duta is an artist working with sound in hypnotic ways, with a background in art and socio-cultural linguistics. Her work focuses on concepts of mimesis and reiteration within the linguistic and the natural worlds, our relationship to the non-human and acts of listening. Her solo project DIAN makes things disappear with words, while performing an oracular striptease in the dark. She is part of the monthly community hypnosis sessions t.r.a.n.c.e and runs Jambes, a recording studio commissioning new work by artists experimenting with sound and voice. She is a citizen of Romania, Belgium and Elgaland-Vargaland.
https://dianaduta.com/
https://jaaambes.be/
https://www.instagram.com/dianaduta_/
https://barramovement.com/whisperings-of-the-taxus-trees/


2) Mark Griffiths - We will forget their songs

“We will forget their songs” explores the phenomenon of Shifting Baseline Syndrome (also known as Environmental Generational Amnesia.)

What we think of to be a healthy environment now, would have been regarded by past generations as impoverished. What we judge to be degraded now, the next generation will perceive as the norm. As a result, our expectations of ecologies are lowered, generation by generation.

The work combines narrative, and soundscapes based on bird song. The narrative includes both personal experience and objective statistics.
Four formerly common birds were used to as examples, we start with their natural songs*, but as the piece proceeds, they are electronically processed or recreated as an analogy for the degradation of our memories.

*Recordings of the Turtle Dove, Yellowhammer, Skylark and House Martin are from the British Library archive (Creative Commons Attribution 4 international licence)

Mark Griffiths (b.1959), is a composer living just outside of Oxford, England. He began creating Musique Concrète in the late 70s before moving to ambient and electronica works. He started producing more experimental material again in the 2020s using digital manipulation of real sounds as well as modular synthesis. That work explores dreams, memory, mental states or environmental issues, while some is purely abstract.
He publishes his more conventional material under the name of Mark Ellery Griffiths, the less conventional under the name Mark Dalton Griffiths.
https://markdaltongriffiths.bandcamp.com
https://markdaltongriffithsmusic.blogspot.com

 
3) Petri Kuljuntausta - The Big Reveal (In C)

The Big Reveal (In C) is one of the AI choral parts of the upcoming electronic media opera. The voices of the choir have been sung by real singers, but the control of the choir's voices takes place with the help of artificial intelligence in real time. The choir starts with one pitch and finally returns to the same pitch (C). During the sound journey, the vocalization of the choir thickens and the intensity increases, and we hear microclusters between the notes C–C#–D. Choir singers sing phonemes and produce combinations of phonemes. If the listener hears language-like words in the sound fields of the work, however, these language-like structures are the result of chance or imagined. In addition to the choir, the opera ensemble includes real & artificial intelligence vocal soloists and a synthesizer orchestra. Parts of the opera have been performed as a theatrical version in 2023.

Petri Kuljuntausta is a Finnish media composer, sound artist, adjunct professor of sound art and electronic music, a doctor of philosophy and author of three books on electronic music and sound art. Kuljuntausta's keen interest in sound and its different dimensions has lead him to work in multiple fields of art and science. He started out as a composer and guitarist who played several instruments and created compositions with multi-track technology. Kuljuntausta is currently researching sound communication and making music with other species, especially birds.

kuljuntausta.com
https://en.wikipedia.org/wiki/Petri_Kuljuntausta
https://www.facebook.com/petri.kuljuntausta
https://www.instagram.com/petriear

 
4) Craig Stewart Johnson - Passages and Combinations

'Passages and Combinations' is a work that considers space, as opposed to place, as something constantly under construction. It asks whether we favour time over place, where we place our bets. Recordings of multiple spaces are layered in a spatiotemporal collage, taking the listener to one place, then another, always in flux, never settled.

Touching on how DIY, underground or otherwise experimental art practices work tactically within structures of power, 'Passages and Combinations' positions this temporality not as something to be ignored but as something full of potential.

In fluctuating space, we enact processes of deconstruction and reconstruction, reversal and transversal, working within solid structures to create something fluid, a place where plurality can exist.

Craig Stewart Johnson is an interdisciplinary artist and researcher based in Newcastle-upon-Tyne. He is currently undertaking his PhD research at Northumbria University in the department of Fine Arts, researching the ecologies and economies of the experimental music scene referred to as the no-audience underground. His work revolves around experimental art forms and DIY underground cultures, threads which influence both his artistic and research output.
https://www.craigstewartjohnson.com
https://www.instagram.com/craigstewartjohnson/

5) Michelle Caron-Pawlowsky - Body Becoming (2:06)
6) Katie McMurran – Ants (2:26)
7) Jacqueline Jay Wilde - Freddy! Wait, don't start. (3:06)
8) Franco Falistoco - GOLEM (BOLETíN de RE-Escritura) (9:06)

 
5) Michelle Caron-Pawlowsky - Body Becoming

My practice is both diaristic and informed by research into subjects such as geopoetics, queer ecology, species extinction, poetry, and ritual. Body Becoming is an exercise in Deep Listening, as developed by Pauline Oliveros, and a response to Oliveros' Sonic Meditations. The piece aims to bridge the language barrier between the human, non-human, and more-than-human by listening, responding to, and amplifying the language(s) of the natural world.

Michelle Caron-Pawlowsky is a multidisciplinary artist from Montreal, Canada, currently pursuing a Masters in Fine Arts at Concordia University in Montreal. They have exhibited their work in Canada, the United States, Italy, and Scotland, and have recently shown their work at the Museo Spazzio Pubblico (Bologna, 2023), Maison de la Culture de Pointe-aux-Trembles (Montreal, 2023), Artch (Montreal, 2021), and as part of a large-scale architectural projection with Montreal’s Quartier des Spectacles (2021). They have completed artist residencies with Art Souterrain (Montreal, 2021), Franconia Sculpture Park (Minnesota, 2021), and Atelier Silex (Trois Rivières, 2023).
https://www.michellepawlowsky.com/
https://www.instagram.com/michellepawlowsky/

 
6) Katie McMurran – Ants

This is a very short work I created around a battle I waged this past year against the ants that had overtaken my hummingbird feeder. It's centered around a musical motif (a little punk rock chorus) that I composed in my head one day, and fleshed out with my own (and two very professional) field recordings.

Katie McMurran is an audio engineer, sound designer and composer currently living in northern California. She studied music technology at CalArts.

Jacqueline Jay Wilde - Freddy! Wait, don't start.

Using fragments of radio broadcast - cut up dialogue and and an intermittent orchestral concert coupled with distorted voice with the intention of creating a discordant and disorientating atmosphere. A few lines are repeated which leave interpretation open.

Jacqueline Jay Wilde is a writer, actor and sound artist. Jacqueline performs her poetry at open mics, acts regularly on stage and in the occasional short film. She trained at Edinburgh College of Art and Acting Coach Scotland and has had sound works performed at Lights Out Listening Group, and broadcast by Radiophrenia,  Writers Block Radio Hour and Pulse Radio.
https://soundcloud.com/jjw51
https://www.instagram.com/jacjayw

 
7) Franco Falistoco - GOLEM (BOLETíN de RE-Escritura)

"Sometimes a beastly rumour breaks the silence."
-| Gustav Meyrink

Experimental radio piece inspired by texts by Gustav Meyrink and The Invisible Generation by William S. Burroughs.
Using as axis a nocturnal sound walk, real time recordings of WSDR sounds and processes and effects on instruments.

Radioartist and cultural manager.
He bases his work on the idea that sound communicates in all its variants, appealing to intimate and collective emotions.
Dedicated to sound experimentation, being radio art and sound art the formats where he channels his artistic concerns.
For the last 15 years, he has been producing El RUIDO es el Mensaje (The NOISE is the Message), a radio laboratory of sound alchemy that uses noise (within the sound axis of a cultural context) as part of the language of sound.
He currently runs the digital label CALATHEA experimenta (calathea.ar).

IG: https://www.instagram.com/noiseisthemessage/
WEB: https://www.calathea.ar
IG: https://www.instagram.com/calathea.experimenta/

Field recordings from Brazil's Atlantic Forest

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


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

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

Revenant is a radio art work which explores mortality, rot, and regeneration, using electronic and radiophonic instruments, and field recordings made both below and above ground. The first part reflects on a summer of extreme heat and wildfire, and the desire to escape into the safety of a burrow underground. The second reconsiders the mythical journey of the living into the underworld, wondering what kind of organism does one need to become to burrow down to the earth in order to reunite with a deceased loved one? The creatures who move easily through the soil are often considered abject: insects, rodents, serpents, worms. A journey to the underworld requires metamorphosis of body and senses on the quest for visitation with the dead. Commissioned by ORF Kunstradio and recorded in the mighty RP4 studios of the ORF Funkhaus in Vienna and on various locations in Santa Cruz, California.

Artist bio:
Anna Friz is a Canadian radio, sound and media artist, who creates audio compositions, broadcasts, installations, short films, and live performances. Her curiousity continually returns to themes of transmission ecologies and the intimacies of signal space, environment and land, infrastructures, time perception and durational performance, and critical fictions. Since 1998, she has created radiophonic works in which radio is often the source, subject, and medium of the work; she also composes for theater, dance, film, and public practice performance. Anna is Associate Professor in the Film and Digital Media Department of University of California, Santa Cruz.

Website/social links
https://nicelittlestatic.com

The name Z/G/T/H references Rosi Braidotti’s zoe/geo/techno asemblages (to which Margo reintroduces ‘human’, an agent still being processed) and the wider conversation on the possibility of a re-imagined posthuman subject which emerges from our rejection of the dominant role of Anthopos and an attempt to dehierarchise the multispecies and global relationships.

Work created for the RCA2024 graduate show where a version of it was playing using as speakers experimental copper-and-enamel objects created by Margo.

Field recording as a material research method originated from the need for a non-destructive way of working with soil and other natural materials, which were full of life that required acknowledgement and respect.

The recordings include voices of various animals, a number of natural water sources, electromagnetic waves of personal and commercial devices, friends encountered inside the workshops, tools and materials activated by human hand, things being activated by other things in the environment, manipulated ultrasounds.

Artist bio:
Margo Misiak-Orlovic is a London-based interdisciplinary artist and material[ity] researcher whose jewellery-and-metal-native practice is interested in radical dehierarchising of material relationships and engaging in experimental, collaborative, boundary-dissolving material practices. Rejecting human-imposed [power] narratives, through their material engagement Margo explores the possibilities for more just, free and participatory ways of being in the world.
Graduated from MA RCA Jewellery and Metal in 2024.
Recipient of Graham Hughes Award for Outstanding Student in Jewellery and Metal, Behrens Foundation Bursary and RCA Vice Chancellor’s Achievement Scholarship.

Website/social links
https://www.instagram.com/margo_orlovik/
https://margoorlovik.com/pages/rca2024-j-m
https://soundcloud.com/m-mo-169021752/zgth

The Oare Marshes Nature Reserve in Kent was once used to manufacture gunpowder for the first world war effort. On 02 April 1916 a series of massive gunpowder explosions took the lives of 108 people (including White’s Great Grandfather, Sydney Clubb) and injured many more. The blast left a crater 40 yards wide and 20 feet deep. The explosion was so huge it was reportedly felt in Norwich and heard in France.

Remnants of the site remain to this day among the rich ecosystem of birds, insects and non-native marsh frogs. An Awful Energy attempts to draw connections with the past and its present inhabitants/uses of the space; the tragic consequence of a singular event and the development of a very different ecology. Through site specific recordings and actions tracing fading lines in the landscape; a sonic demarcation or archeology can be felt.

Artist bio:
Tom White is a Ramsgate-based artist focusing predominantly on sound-based practices such as live performance, installation, recordings, composition for dance and film. Past projects include commissions and appearances for Radiophrenia, Glasgow (CCA); BRAUBLFF (KRAAK & De Player); Whitechapel Gallery, London & Colour out of Space Festival, Brighton. Recent collaborators include Surface Area Dance Theatre, Maya Dunietz, Ben Knight, Renato Grieco and Lia Mazzari. He has performed extensively across the UK and Europe, traveled to North America & Japan and had work published by labels such as Takuroku (Cafe OTO), Glistening Examples, Calling Cards Publishing and many others.


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

The Walker in the Landscape began as a narrative script written and recorded by artist Caitlin Kiely in 2020. The spoken word audio was intended to be listened to as the walker or listener moved through a landscape or environment. The idea being that they occupy the space between the two characters – the Walker and the Narrator — as they temporarily locate the narrative in the physical space they occupy.

As a sound artist and experimental musician with a field recording component to their practice, David heard Caitlin’s script and began recollecting sonic memories of landscapes and environments they’d experienced, leading to conversations with Caitlin around the research and contexts surrounding her work. This prompted a collaboration which saw David conduct visits to re - wilding sites of prior extraction over the course of several years - in Wales, Cornwall and Kent (UK) - culminating in a series of field recordings and on-site material improvisations, which were then used as the basis for a composition that underpinned Caitlin’s narrative, alongside de-constructed folk improvisations (zither and saw).

David was drawn to the performance of power within Caitlin’s characters, and how these repeat and play out across multiple layers both spoken and unspoken within the narrative; from the singular, small scale character traits of the walker/antagonist to the upscaled larger affects of organising around such traits - as the landscape changes through time with human intervention. These dynamics were considered and meditated on within the compositional processes, seeing field recording and improvisation as modes for listening to, and having dialogs with, landscapes. Contrastingly, acousmatic experimentation within the computer were seen as extractive, but useful for smudging the lines between the different intersecting membranes and voices held within the dialog.

The ongoing talks and considerations around both of our practices have lead to new ideas about how we may approach these ideas going forward, which we’ll be continuing to develop in 2025. 
 
Thanks to:

Grace Emily Manning - Voice - Narrator
Roland Ross - Voice - Walker
Dominic Lewis - sound assistance in Wales

Caitlin Kiely is an artist who investigates our relationships with landscapes, through a narrative and feminist lens. She situates herself and practice between fieldwork, archive and studio – whilst occupying the role of investigator, witness and storyteller. (contact : https://www.caitlinkiely.co.uk/ // https://www.instagram.com/caitkiely/ )

 David Sappa is a sound artist interested in sound for its tactile, textural and somatic qualities, and as modes for interrelatedness and interplay that can explore dynamics between our social, psychological and material entanglements within different environments. (contact : https://davidlorenzosappa.cargo.site/ // https://www.instagram.com/bloopdyblooop/ )

1) Marc Perez - the mouth cries, the eyes kill (2:48)
2) Studio Descrittivo di Base - Suoni Del Devoto Ballo (4:02)
3) Nichola Scrutton - At First Light (8'49)
 
1) Marc Perez - the mouth cries, the eyes kill

This work is meant to highlight and illustrate a struggle in sonic communication between two entities. One is searching for love, guidance, and something warm that will validate their existence. The other seemingly responds in lack of care, not only in a micro sense but a macro sense, showing the other entity they mean nothing.

Artist bio:
Trombone Player, Composer, Improviser, Artist & Author Marc Perez utilizes his unique understanding and approach to improvisation in a broad range of interdisciplinary practices. His approach to sound, music perception & non traditional notation is quickly making Marc a sought-after collaborator and making his work quickly known.
https://www.marcperezmusic.com
https://www.instagram.com/mapmusiq
 
 
 
2) Studio Descrittivo di Base - Suoni Del Devoto Ballo

Ispirata alla poesia *Suoni* di Guido Ballo, un affresco sinestetico in cui sonorità naturali e immagini sviluppano corrispondenze, materializzando un paesaggio selvatico e avvolgente. La composizione musicale interpreta l'essenza del testo in chiave elettroacustica ed analogica, con registrazioni d'ambiente, suoni ancestrali di launeddas e voce.

Artist bio:
SDDB nasce a Bologna nel 2014 dall'incontro tra due artisti italiani, Antonio Nuvoli e Antonio Orlando.
Studio Descrittivo di Base. Concettuale, aleatorio, elettronico ed acustico, analogico e concreto, é ricerca senza soluzione di continuità, fluida e irripetibile come la vita.
digiugnoalessandro.wixsite.com/studio-descrittivo-d
soundcloud.com/studiodescrittivodibase
http://www.youtube.com/studiodescrittivodibase

google translation:

Inspired by the poem *Suoni* by Guido Ballo, a synesthetic fresco in which natural sounds and images develop correspondences, materializing a wild and enveloping landscape. The musical composition interprets the essence of the text in an electroacoustic and analogue key, with ambient recordings, ancestral sounds of launeddas and voice.

Artist bio:
SDDB was born in Bologna in 2014 from the meeting between two Italian artists, Antonio Nuvoli and Antonio Orlando.
Basic Descriptive Study. Conceptual, random, electronic and acoustic, analogue and concrete, it is research without a solution of continuity, fluid and unrepeatable like life.
 
 
3) Nichola Scrutton - At First Light

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

Artist bio:

Nichola Scrutton is an award-winning composer, performer and artist who produces self-directed works across various media, and collaborates on a range of interdisciplinary and participatory projects.

Website/social links
https://www.nicholascrutton.co.uk/
Twitter/X: @NicholaScrutton
Instagram: @nic_scrutton
BC: https://nicholascrutton.bandcamp.com/
Spotify: https://open.spotify.com/artist/2bKegVEj2mTO0JlPDkE3qd (such it is)
SC: https://soundcloud.com/nic-2-1
Mailing List: short link - http://eepurl.com/gihZh9

Ute Wassermann interweaves her voice with field recordings of birds, insects, frogs - of creatures that move across the boundaries between air, water and earth and finds new and different resonance places far away from their original environment. Fragile, seemingly natural sounds, such as the buzzing of bees under water, can be transformed into technoid drones. Snippets of soundscapes ghost through objects.  Does the singer retain her identity or does she become the ‘other’? The boundary between self and environment becomes fluid, so that the latter itself becomes an illusion in favour of a more complex reality. The binaries of animal and human, object and human, nature and technology are turned upside down in favour of interwoven relationships based on reciprocity.   Ute Wassermann: voice, bird whistles Felix Blume: field recordings   'Imaginary Habitats' is a co-commission between Radiophrenia and Goethe Institut Glasgow. Bio Ute Wassermann is one of the outstanding contemporary vocal artists of our time. She combines composition, improvisation and performance art to create her own form of Gesamtkunst, in which environmentally relevant themes play an essential role. At the centre of her research is the continuous and uncompromising exploration of her voice. Ute Wassermann's singing goes far beyond the human voice and manifests itself in multidimensional sculptural sounds that oscillate between electronic, animal, inorganic and human qualities. She takes this to the extreme by creating a visceral sound space through the use of different types of microphones. In addition, she expands and alienates her voice through the use of bird whistles, lo-fi electronics, resonators, field recordings and objects. She has been touring the world as an improviser and performer of contemporary music for many years. In the last ten years, she has increasingly realised audiovisual performances, installations and compositions for soloists and ensembles. https://utewassermann.com

This binaural composition, inspired by Green Hermeticism by Peter Lamborn Wilson, intertwines spoken word and psychoacoustic phenomena, guiding listeners through a narrative on consciousness, matter, energy, and spirit. Drawing on key citations from the text, the work explores unconventional belief systems, where the symbolic becomes real, and nature is seen as a perceptive entity. With references to Ilya Prigogine's theories and Novalis' hermetic science, it delves into how consciousness shapes the natural world, unfolding through rhythm and transformation—from mineral to plant, animal, human, and divine. This journey reflects hermetic principles of unity and creation, as consciousness seeks itself through all metamorphoses.

Photo cover: Musaeum Hermeticum, Frankfurt edition, 1749

Narrators voice at the beginning: Zach Hart

Recorded, designed and composed by Simina Oprescu

Artist bio:
Simina Oprescu (b.1993) is a Romanian composer of electroacoustic music and sound artist based in Berlin, Germany, submersing herself in the intricacies of sound's acoustic and spectral properties. Her compositions embrace a diverse array of instruments, spanning from analog synthesizers to computer music or string instruments. Simina employs acoustic artifacts from physical or natural spaces as recordings, showcasing techniques cultivated through an investigative electroacoustic composition approach.

Her praxis unfolds with a fusion of synthetic and aural elements, ranging from intricate, detail-oriented maximalist stereo compositions to immersive multi-channel sonic minimalism, reshaping the contours of acoustic spaces, and audio-visual. Simina's exploration takes her deep into structures and phenomena, weaving potent yet nuanced harmonic narratives influenced by psychoacoustics, consciousness studies, spatial arts, and theoretical or physical sound-sculpture installations.

Her artistic thinking centers on unified immersion, sound movement, and gesture, infusing philosophical meaning into her work.

Her work was presented in numerous festivals, music/radio platforms, galleries and museums, collaborating with various international video artists, and her sound compositions were exhibited in EVA International | Ireland’s Biennial, Museum Tinguely, Basel, Märkisches Museum Berlin, MOTA Museum Ljubljana, n.b.k Berlin, Hošek Contemporary, Suprainfinit Gallery Bucharest, MARe museum Bucharest (Museum of Recent Art), SONICA, Cynetart, Rokolectiv, Simultan or ORF musikprotokoll and having her work mentioned in various magazines, like Positionen Berlin or The Wire. In 2020 she was selected to be part of the SHAPE+ platform artist roster.

Website/social links
http://siminaoprescu.net
instagram.com/siminaoprescu

1) Gardika Gigih - Mikrokosmos 1 (10:14)
2) Renán Zelada Cisneros - No recuerdo las montañas (16:48)
 
 
1) Gardika Gigih - Mikrokosmos 1

Composed by Gardika Gigih In Collaboration with Fernand Deroussen (audio-naturalist), Nanang Bayu Aji (Gamelan), Hye-Ohn Park (Daegeum) “Mikrokosmos” is a series of quadrophonic compositions that combine nature soundscape archives and instruments from various cultures, including Javanese Gamelan, Korean Daegeum, piano, and synthesizer. This composition was created during the Odyssée Residency 2023 in Abbaye de Noirlac, supported by Association des Centres Cultures de Recontre (ACCR) Europe and the French Ministry of Culture. Gardika Gigih composed Mikrokosmos, using the nature soundscape archive around Noirlac, recorded by renowned French audio-naturalist Fernand Deroussen, as the basic structure. Starting with birds, insects, water, and frogs sounds. Then, the instrument part was composed, in collaboration with his friend Nanang Bayu Aji, a Gamelan musician from Kasunanan Palace Surakarta, and Hye-Ohn Park, a Daegeum musician and lecturer at Ewha Women University and Gugak Center Seoul, and Gardika himself, playing the synthesizer.

Gardika Gigih is an Indonesian composer, pianist, and soundscape researcher. His works span numerous genres, from concerts to contemporary improvisation, film scoring, and sound ethnography. In 2019, Gardika received a fellowship from The Japan Foundation Asia Center to conduct soundscape research as cultural narratives in Southeast Asia, Japan (http://www.lostinsound.art). In 2023, he stayed in New York as an Asian Cultural Council Fellow to study multicultural collaboration. May 2023 at the British Library, his composition “Mimpi Owa: A Duet with Javanese Javanese Gibbons” won the “Sound of the Year Awards” initiated by the BBC Radiophonic Institute and the Museum of Sounds.
https://lostinsound.art/
instagram: @gardikagigih
https://www.artlink.ch/turntables/directory/profiles/gardika-gigih-pradipta
https://www.asianculturalcouncil.org/about-acc/stories/a-conversation-with-gardika-gigih-pradipta


2) Renán Zelada Cisneros - No recuerdo las montañas

Our world is full of noise. The incessant comings and goings of our economic activity have filled our daily lives with innumerable artificial sounds, from machinery to alarms to endless songs playing on our smartphones. As someone who gets overwhelmed by noise pretty easily, I have been working on music that invites a slowing down of our perception and a focus on the minutiae of specific sounds and noises. In this case, I time-stretched a single sample of a mechanical noise 100 times and then reconstructed its main frequencies using basic synthesizers. The music invites the listener to sometimes listen, sometimes trail off on a different train of thought, then come back and listen some more. Maybe it serves as a reflection on the kind of world we would like to build, perhaps one with less stimuli, where the wind, the trees, bees, birds, are the prominent noises we hear.

Renán Zelada Cisneros (b. 1993) is a Dutch-Venezuelan composer currently living in Barcelona, Spain. He studied at the Royal Conservatoire in The Hague, and the Amsterdam Conservatoire, in the Netherlands. His music is frequently inspired by other art forms such as literature, visual arts, and architecture, often relating to social and environmental themes. Together with writing music for the concert stage, Renán also collaborates regularly with filmmakers internationally in both fiction and documentary films.
https://renanmusic.eu/
https://renanmusic.bandcamp.com/
https://www.instagram.com/renan_zelada_music/

3) Dariusz Mazurowski - Metropolis Balticum Interiors (7:18)
4) Nicola Monopoli - 3 Stanzas (7:47)
5) Mattia Benedetti - nel buio (2:53)
6) Pablo Paniagua - Improvisación con Hongos (14:46)
 
 
3) Dariusz Mazurowski - Metropolis Balticum Interiors

The piece "Interiors" is the sixth part of the extensive composition "Metropolis Balticum (Urbana Landscape)", a soundscape of Gdansk, my hometown. It was entirely created from field recordings that I made within the urban space, visiting various locations and searching for intriguing events with musical qualities. During the field recordings I visited many places – both those well-known and frequently visited by tourists, and many that even the citizens themselves often know little about. This piece consists of multiple phrases layered on top of each other, creating a sonic tapestry. The sounds of the city, bustling streets, industrial noises, the sea's roar, and the hubbub of human activity all become phrases contributing to this uniquely musical whole. This project was undertaken as part of the Cultural Grant of the City of Gdańsk, awarded in 2023.

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


4) Nicola Monopoli - 3 Stanzas

This piece explores cycles of personal and environmental renewal in three parts. The first represents writing unwanted memories, tearing the paper, and burning it—symbolizing emotional purification and reflecting humanity's need to discard unsustainable practices. The second part, with strong ritualistic breathing, introduces catharsis and transformation, akin to the changes required for ecological sustainability. The third part returns to reality, where life’s struggles and environmental challenges repeat in a cyclical manner.

The trigger/matchstick sound that opens and closes the piece suggests a loopable structure, symbolizing the endless cycles of personal and natural regeneration. The composition aligns its form with themes of renewal and sustainability, contributing to a broader discussion on how art can raise awareness of ecological issues. By linking emotional and environmental cycles, this work participates in the interdisciplinary dialogue on culture and sustainability, serving as a metaphor for continuous transformation in both realms.

Nicola Monopoli is an Italian composer born in Barletta in 1991. He holds the distinction of being the first composer to receive the Artist Diploma in Composition from The Royal College of Music in London, supported by a Clifton Parker Award and a scholarship from the Giovani Artisti Italiani Association. His compositions have been performed globally. He currently teaches Electroacoustic Composition and is PhD Coordinator at the 'U. Giordano' Conservatory in Foggia.
https://nicolamonopoli.com/
https://www.instagram.com/_nicolamonopoli_/
https://www.facebook.com/nicolamonopolimusic
https://mastodon.uno/@nicolamonopoli

 
5) Mattia Benedetti - nel buio

solitude (or: the necessary distance from others);
pseudo-gothic fascination (or: the obsessiveness of choice);
daily objects as clocks and paper (or: ¿how strange they sound out of context?)
literature and the human voice (or: the possibility of communication)

nel buio is a brief piece, after Juan Rodolfo Wilcock short story.
Is a portrait of a very specific way of living; a marginal, selective and mysterious point of view.

Mattia Benedetti is a composer. He lives in Venice.
He's trying to create music that resembles an open world, without a centre but full of internal connections and ambiguous self resemblances.
He's trying to create music that resembles an island, isolated from everything, an extreme habitat where only endemic organisms lives.


6) Pablo Paniagua - Improvisación con Hongos

Recording of an improvisation in which I explore the intersection of biology and sound art by utilizing sounds from gray oyster mushrooms (homegrown) connected to a biosonifier. This sonic experiment is situated within a free improvisation that incorporates a prepared electric guitar and sound processing, challenging and reconfiguring the boundaries between the organic and the technological.

From a posthumanist perspective, this improvisational exercise opens a space for reflection on co-creation with non-human entities. It suggests an expansion of our sensory perception beyond conventional limits, promoting a reconfiguration of our relationships with the environment and other living beings. By integrating biological entities into the creative process, it questions the primacy of human creativity, opening new possibilities for creative agency within an ecologically interconnected framework.

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

The On Love, Death & Life: Daerth mixtape is an immersive sonic journey, weaving through echoes of ancient worlds, ethereal soundscapes, and timeless myths. Emanating from the mysterious depths of the Luray Caverns, the world’s largest lithophone—the stalacpipe organ—plunges us down into Medusa’s gaze, turning us to stone, where Italo Calvino’s exploration of ‘Lightness’ opens up a road of perspective and liberation, as a means of transcending worldly hardships. The journey spirals into the depths of time as French filmmaker Marguerite Duras transports listeners 30,000 years back to the Magdalenian Caves, where hand impressions evoke humanity’s first feelings of love and loneliness. Then, descending into the coal-stained valleys of South Wales, mining songs echo and the spirit of the land whispers after delivering a third of the world’s coal in the 20th century. The tale continues with the sorrowful and warped performance of Adelina Patti, lamenting the swift and unexpected demise of a flower, hoping her tears will revive it as Amina in Vincenzo Bellini’s opera La Sonnambula, her voice intertwining with Pauline Oliveros’s experimental soundscapes. Calvino’s reflections on software and hardware reverberate through a pottery workshop, with the  ASMR sounds of throwing and turning clay. Blending the music and sound art of contemporary artists with field recordings, spoken word, and cinematic soundscapes, the mixtape travels through past and present. Each track revisits and reimagines moments in time, offering a unique fusion of voices and atmospheres that spans from ancient myths to modern reflections. Tracklist: Siân Landau - A Rocky, Horror, Picture Show The Great Stalacpipe Organ - Moonlight Sonata Italo Calvino - Lightness (read by A Poetry Channel) Siân Landau - A Rocky, Horror, Picture Show Siân Landau - Stone Tape #4 Frantz Casseus - Suite No. 1: Petro Marguerite Duras - Les Mains Negative (Film,1978) / Excerpts Banwen Miners Marching Band - Unknown Neath to Brecon & Newport Steam South Wales Steve Reich - Different Trains (Part 1) Bill Fontana - Landscape Sculpture with Fog Horns, Installation Version 1981 Joseph Evans - Bow Test Arianne Churchman & Benedict Drew - As  We Walked Through the Meadows, A Handful of May 4 / Excerpt Pauline Oliveros - I of IV Adelina Patti - Ah! Non Credea Mirarti ( by Vicenzo Bellini) / Warped Daphne Oram - Rotolock Throwing and Turning / Pottery Sounds Italo Calvino - Lightness (read by A Poetry Channel) Los Indios Tabarajas - Ave Maria No Morro Artist's bio: Christina-Shelagh Mongelli (b. Athens, 1991) is a multi-disciplinary artist, radio producer and educator of Greek-British-Italian heritage, whose practice focuses on time-based media such as sound, performance, and video. Her research aspires to narrate new mythologies showcasing contemporary political, social, and environmental concerns and to present oscillations between dissonance and euphony, machine and organism, fiction and reality.

"The Length of a Wave" was created for the launch of Occulto's R A D I O zine on January 12, 2024 at Errant Sound, Berlin, to which Deanna Radford contributed a poetic work. Recorded at Les Ateliers Belleville in Tio’tià:ke tsi ionhwéntsare / Mooniyang / Montreal. R A D I O is a poetry zine in print and sound released in September 2023. It emerged from a rediscovered passion for poetry blended with collective reflections on sustainable self-publishing, a decade-long involvement with sound experiments, and a soft spot for ‘radio’ as medium, technology, and (multilingual and multimeaning) word.

Artist bio:
Cloud Circuit:
Deanna Radford (word events, paper, walkie talkie)
Jeremy Young (radio, oscillator, EMF)
with special guest: Martín Rodríguez (radio, modular processing).

Website/social links
https://cloudcircuit.ca/
https://rdzmartin.com/
https://www.occultomagazine.com/radio-1

"The Length of a Wave" was created for the launch of Occulto's R A D I O zine on January 12, 2024 at Errant Sound, Berlin, to which Deanna Radford contributed a poetic work. Recorded at Les Ateliers Belleville in Tio’tià:ke tsi ionhwéntsare / Mooniyang / Montreal. R A D I O is a poetry zine in print and sound released in September 2023. It emerged from a rediscovered passion for poetry blended with collective reflections on sustainable self-publishing, a decade-long involvement with sound experiments, and a soft spot for ‘radio’ as medium, technology, and (multilingual and multimeaning) word.

Artist bio:
Cloud Circuit:
Deanna Radford (word events, paper, walkie talkie)
Jeremy Young (radio, oscillator, EMF)
with special guest: Martín Rodríguez (radio, modular processing).

Website/social links
https://cloudcircuit.ca/
https://rdzmartin.com/
https://www.occultomagazine.com/radio-1