Tue 08

For each Intermix, I recorded a performance video where I resonated plastics with my body. This was sent to a collaborator; my wife Jennie Huggins, radio artist Joan Schuman, writer Hugo Danino, and poet Mark Anthony Pearce - who responded aurally to what they witnessed. Listeners are then invited to visualise what was performed solely from each collaborator's perspective.

I made these performances after discovering that plastics now exist within every body on Earth. Pollution and climate change appear so beyond our control, our governments reticent to act, it leaves one feeling powerless. Driven by our ambiguous relationship with plastics, material both useful and destructive; I wanted to engage with this material in a bodily way that would also confer the conflict I felt. In denying myself a voice, inviting others to speak, act on my behalf, there is I think an analogy to our relationship with the climate emergency.

Artist bio:
Seth Guy appropriates, reconfigures and juxtaposes materials to create playful performative works which explore the discourse between ear and eye. Influenced by his interests in experimental fiction, art, and music, Seth's research investigates the intersections of shared language, of memory, and imagination, in which the acts of listening and visualising are investigated. Often collaborating and devising projects of a participatory and experiential nature, Seth makes both sonic art and visual art - sound compositions, performances, and collage - work which is often humorous, and occasionally disquieting. Seth lives in London. His work is held in public and private collections worldwide.


Website/social links
https://sethguy.bandcamp.com
http://www.sethguy.co.uk
https://www.instagram.com/sethguy.art/

"THE BEAUTY OF ERROR" explores the poetic power of mistakes; viewing errors not as shortcomings, but as fertile sources of inspiration that, through their unpredictability, resist firmly established notions. The aim is to replace the illusion of perfection with the recognition of beauty in imperfection. In a time when technological singularity will soon no longer be a dystopia, when the pursuit of perfection is regarded as a noble virtue, and when visual worlds are shaped by artificial intelligence, we must acknowledge mistakes as added value, as indicators of humanity, and as signs of individuality.

The installation consists of an atmospheric network of fragmented interviews (with Mark Vernon, Rosa Menkman, Felix Kubin & Marta Zapparoli), distorted video collages, and a soundscape of glitch artifacts, found footage, field recordings, and synthetic sounds. It explores the tension between order and chaos, perfection and imperfection.

Artist bio:
Jonas Lerch (*1996) is a Hamburg-based artist and graphic designer recognized for his experimental approach and exploration of unconventional techniques. His work embraces digital imperfections, challenging traditional concepts of perfection while questioning rigid norms and the dominance of technology. By merging digital and physical elements, Lerch creates art that blurs boundaries, adding depth through printmaking techniques like riso and screen printing.


Website/social links
https://jonaslerch.com
https://www.instagram.com/jonas_lerche/

The soundtrack is made for the silent film The Fall of the House of Usher.
The movie was co-directed by James Sibley Watson and Melville Webber, and starred Herbert Stern, Hildegarde Lasell Watson and Melville Webber.It tells the story of a brother and sister who live under a family curse. An avant-garde experimental film running only 13 minutes,the visual element predominates, including shots through prisms to create optical distortion.One sequence features letters written in the air moving across the screen.
Selenium Dust Particle superimposed an imaginaired atom of a selenium particle in the movie.

This is the soundtrack extended version.


Artist bio:
Selenium Dust Particle investigates the mechanical sounds of instruments,
old grammophone records, wax cylinders, distortion in tape recorders, cassette players and short wave radio and brings them together into a whole new sounduniverse.

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

seleniumdustparticle@gmail.com

Sonic landscapes; in disappearing echoes; shown on a wall; in a slow bounce; Engraving sounds texture; a Granulating pulses; in Gravity Waves; the Fruit that grows; inside a tree

Artist bio:
A international Group project with a ever changing line up which started in the mid eighties; Since there have been many times of inactivity, and lots of recordings have been lost down the years. Various members joined and left, lots of tapes of unlistenable noise were made, sold or given away, only to be played once, and mostly for only a few seconds. There's a story that a party in the late eighties was ruined by a Mutant Beatniks album being accidentally selected from a pile of cassettes. From the years of not self editing, a open space arrived, and in this clearing was a sound set with out ego


Website/social links
http://mixseriescollection.bandcamp.com

Episode 3. Slug Rider  

Slug riding expert Reuben Simoncelli sheds some light on how to gain the trust of a slug. The Operator has a flashback to some uninvited guests, and plays a song that might just change your mind about our more slimy garden neighbours...  

Produced by Pete Hazell with contributions from Sean Lee and Sam Langley.  ~ Theme music by Alex Lupo   ~ "Giant Centipede” by Titus 12   ~ Artwork by Everything Has Gone Wrong Other music available from Limbo Tapes ~ bandcamp & Soundcloud  

These archive recordings throw a light for those who see shadow puppets in the noise and chaos radio airwaves. As we eavesdrop on the solitary Operator's dispatches, we wonder what we can learn about Limbo, and life at the ambiguous "outpost".  

All episodes available here: https://limbotapes.podbean.com/

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

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

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

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

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


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

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

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

1) Andreas Oskar Hirsch -Teatime Unlimited (2:40)
2) John Roach - Source of Water (15:00)
3) Vincent Eoppolo - I Am Trying (5:00)
4) Ben Gaunt - German Canine Waltz Time (2:02)
5) Mattia Benedetti - Se Qatre Khun (5:32)
 
 
1) Andreas Oskar Hirsch -Teatime Unlimited

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

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

 
2) John Roach - Source of Water

The story of Zion National Park in Utah, USA is all about water. Not only did water carve the deep winding canyons, but it also became a contested resource that led to the expulsion or death of countless indigenous people in the region (like the Pa’Rus who lived along the Virgin river) as their springs and other water sources were forcibly stolen. This sound collage brings together the intensity of the natural landscape of the park including falling ice, wind and rushing water, with the voice of Daniel Bulletts from the Kaibab band of Southern Paiutes.

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/

 
3) Vincent Eoppolo - I Am Trying

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

Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America
https://www.facebook.com/profile.php?id=100007788824642
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw
https://soundcloud.com/vincent-eoppolo

 
4) Ben Gaunt - German Canine Waltz Time

In 2023, I was recording some material for another composition of mine, just outside Köln Cathedral. There were two dogs yapping at each other; I loved the sound, but it just didn't fit the piece.
In 2024, I was asked to perform a piece for the Music Patron launch event at the Groucho Club in Soho, London. I decided to make a new work, using a tiny snippet of the discarded dog sounds.

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

 
5) Mattia Benedetti - Se Qatre Khun

Three Drops of Blood is a cruel and melancholic short story, where a multitude of mirrors is staged just to see them broken and to scatter the reflections. In a madhouse, a sectioned patient, after a year, receive paper and pen for the first time. What starts is a game of projections and superimpositions, where what happened is progressively less clear. Sadegh Hedayat is a master of deceit : the same objects appears from multiple perspectives, sometimes opaque and trivial, sometimes shiny and mysterious. Three Drops of Blood is perhaps his best short novel: a cruel and melancholic glimpse of madness that stages an ensemble of mirrors and crashes them all. We descend into the abyss of an insane asylum, where after a year a sectioned patient can finally write his memories.

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) Adrian Laugsch  - Spasms Of My Aching Heart – Lamento 4 (8:53)
7) Jeff Gburek - Gamelanic Storm Ventilator (6:54)
8) Aurora Engine – DRONE (4:59)
9)  andre birken - 31 monstrous demonstrations - EFFO ISN E (0:47)
10) Simon Whetham – Channelling tk 12 (5:40)

 
6) Adrian Laugsch  - Spasms Of My Aching Heart – Lamento 4

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

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

 
7) Jeff Gburek - Gamelanic Storm Ventilator

A turbanned roof-top air ventiltor during an heavy rain with some hail is augmented by anthropogenic percsussive accents.

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


8) Aurora Engine – DRONE

Drawn to the intriguing sounds and communal habits of bees, Drone explores  hive sounds of local honey bees collected from a series of trips to Edinburgh Based hives. Drunk on smoke, jumping, shouting and, of  course, buzzing, the bees make different sounds depending on their mood,  surroundings and time of year.  Shaw reacts to the rhythms, tones and moods of this fragile species using harp, F horn and voice. This piece was initially premiered at Sound Festival 2022, then featured as part of the 2023 Made In Scotland Showcase show 'Terre' exploring Scotland's Landscape through sound. Recorded, produced and mixed by Deborah Shaw (Aurora Engine)

Deborah Shaw / Aurora Engine is a songwriter, composer and sonic artist from Edinburgh. Fusing real instruments (harp /piano), voice and progressive electronica, her work encapsulates a singular and striking sonic landscape. As a sonic artist she thrives on telling stories through sounds, engaging communities, whilst engaging with environmental issues. Recent works include a sonic exploration of Tourette's Syndrome funded by SMHAF, and an exploration a commission from Historic Scotland, capturing the historic sounds of the Paisley's Carillon. She is committed to amplifying the voices of women in sound and has engaged on a series of women focused sound projects.
http://www.auroraengine.com
http://www.instagram.com/aurora_engine
http://www.twitter.com/auroraengine
http://www.facebook.com/auroraengine


9) 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


10) Simon Whetham – Channelling tk 12

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

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

To listen is to open up the channels and currents that run deep inside us, to attune ourselves to the lives that endure in polluted rivers. This podcast is an invitation to navigate the Bogotá River in Colombia through a more-than-human song created by sound artist Leonel Vásquez together with the living forces that shape the watershed’s ecosystems.  

Loaded with chemicals and sewage along its course, the river is largely devoid of the fish and freshwater crustaceans that for thousands of years teemed in its waters. People have turned their backs on the water body, even though it was once the centre of collective life.

How might listening to the river’s song renew  bonds of relation and reverence for water in dis-enchanted times? Guided by Leonel’s compositions, River Song, Singing Rivers is sonic immersion that attends to the Bogota rivers bogs, meanders, and flows as a living being worthy
and in need of care.

-

Lisa Blackmore is founder-director and curator of entre—ríos, exploring continuities between bodies of water, human bodies and territories, recognizing rivers as active subjects. Lisa is Senior Lecturer in Art History and Interdisciplinary Studies at the University of Essex, United Kingdom. She holds a PhD in Latin American Cultural Studies and is the author of publications like Spectacular Modernity: Dictatorship, Space and Visuality in Venezuela 1948-1958 (2017), and co-editor of Hydrocommons Cultures: Art, Pedagogy and Care Practices in the Americas (LA ESCUELA__JOURNAL, 2024) and Liquid Ecologies in Latin American and Caribbean Art (2020).

Leonel Vásquez is a Colombian sound artist exploring non-human sonic agencies: waters, trees, rocks... living and vibrant materials. Their interests include underwater noise, geo-resonances, relational listening, and vibroacoustics of planetary well-being. They have worked with the National Radio of Colombia, Ministry of Culture, and as a teacher of sound art at the University of Los Andes.
https://www.leonelvasquez.com/

entre—ríos explores continuities between bodies of water and human bodies, recognizing rivers as active subjects producing aesthetic forms and shaping memory. They believe in artistic practices as catalysts for collaborative experiments connecting us to the environment. Their practice traces hydrographies rendering borders porous, creating shared territories. They put into circulation ways of knowing and feeling bodies of water through creative methodologies and flow systems that create deltas of knowledge where arts and sciences, communities and institutions meet. Their project, RÍO BOGOTÁ, connects community initiatives in one of Colombia's polluted rivers through culinary encounters and publications.
http://entre-rios.net

Collective Werebere focuses on communication and expressions between the human and natural world, based on the study of different bodies and their sounds. They have conducted research on resonance phenomena and subtle landscape signals. They lead the High Mountain Listening Station project, a space for contemplation and well-being practices towards the body and Sumapaz páramo territory.
https://www.instagram.com/eeam_werebere/

This mix came together after being in touch with sound artist Diana Duta. I recalled a conversation we had last year over a coffee in Brussels after we joined a Palestine solidarity protest together. We talked about how creating experimental non corporate sounds can possibly create ruptures in the flow of the hyper colonial capitalist death machine that is aiming to commodify everything. The soundscape blends together my own recordings from a visit I made to Portugal with my family in 2024, and Diana’s recordings from the 25th of April, which marked the 50 year anniversary of the Carnation Revolution in Portugal - a symbol of independence and freedom. It is really about listening and arriving at a solidarity that is about being open, also about taking action, but also reflecting in real time beyond the noise of colonial capitalist power that is trying to always occupy our minds.

Artist bio:
Diana Duta works with sound in hypnotic ways, from a background in art and socio-cultural linguistics. Her solo project DIAN makes things disappear with words, while performing an oracular striptease in the dark. She is part of 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.
Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Lori Goldston, Sam Shalabi, and Adriana Camacho. A lifelong community activist, he helps to coordinate the Musicians For Palestine project.

Website/social links
https://dianaduta.com/
https://jaaambes.be/
https://soundcloud.com/spirodon
https://www.instagram.com/musicians4palestine/

1 Wolfgang Pérez - Memorias Fantasmas (9:55)
2 Troy David Ouellette - E-Air (2:35)
3 Dariusz Mazurowski - Summa Technologiae - Homo Sapiens (5:08)
4 Jorge Ramos - Electronik Peace (5:52)
 
1) Wolfgang Pérez - Memorias Fantasmas
Memorias Fantasmas is based on a 1982 concert recording by my family in a church in Segovia, Spain, thought lost but rediscovered last year. The composition uses loops from the original recording, with minimal new material added (e.g., simple oscillators). Each of the three sections begins with a loop that is repeated mantra-like, inviting listeners to focus on sonic details, which are gradually varied and developed. The piece follows principles of Reduced Listening (Pierre Schaeffer) and processes the sounds through sampling, downgrading, filtering, and distortion.
 
The work emphasizes the spaces between sounds, allowing imperfections to take on a life of their own. It reflects the nostalgia for lost futures described in Mark Fisher's Hauntology, as the resurfaced material represents a past I didn’t experience, yet feel connected to.
Wolfgang Pérez, a 30-year-old German-Spanish composer, producer, and multi-instrumentalist from Essen, Germany, is known for blending experimental electronic music with pop. A graduate in electronic and pop composition from Folkwang University, his work explores unconventional structures and electroacoustic textures. His second album, AHORA (2024), sung in Spanish, mixes Latin rhythms with intricate electronic soundscapes, while his upcoming album, Só Ouço, inspired by his time in Brazil, brings Brazilian influences into his experimental pop style. He is currently focusing more on the electronic line in his body of work, experimenting with Soundscape composition and immersive Multi-Channel pieces.
https://www.instagram.com/wolfgangperezmusic/

2) Troy David Ouellette - E-Air
E-Air (2024) consists of sounds that reference place and time, foregrounding the sonic possibilities of Hyères, France and St. Catharines, Canada. Each chosen site resonated differently as the surroundings changed, yet one common theme remained via a tuning fork, which marks the space's sonic resonance. As an object of obsolescence in music, the tuning fork has taken on a contemporary function as a tool for healing through sound. It references the therapeutic nature of resort towns with littoral space as places of convalescence and respite. It also becomes a rudimentary instrument like a bell to transport the listener psychoacoustically from one passage to another.
 
Specializing in acoustic ecology, technology and conceptual art, Troy David Ouellette (he/him) is an Assistant Professor of Digital Media and Design at Brock University's Marilyn I. Walker School of Fine and Performing Arts. Ouellette is a founding member and former Chair of the London Ontario Media Arts Association (L.O.M.A.A.) and "Principal Organizer" of the Sound Art Innovation Lab (S.A.I.L.). Ouellette's research often extends notions of how culture, technology, and the environment might interact beyond anthropocentric concerns.
http://www.troydavidouellette.com/
https://www.soundartinnovationlab.org/
https://brocku.ca/miwsfpa/visual-arts/faculty-and-staff/troy-david-ouellette/

3) Dariusz Mazurowski - Summa Technologiae - Homo Sapiens
Originally, the piece "Summa Technologiae - Homo Sapiens" was composed as part of the extensive performance "Summa Technologiae", based on the book by Stanisław Lem of the same title, first published in 1964. It was commissioned by the Baltic Opera in Gdańsk as part of the series Tuesdays on the Wave 2021, concerts inspired by literature. It was performed live on November 16, 2021. Currently, it is an independent concert piece for prepared piano, synthesizer (or sampler), two actors and tape. It can be presented in various forms - as mentioned before, but also for just a piano with a tape, two voices with a tape, a piano and a synthesizer for one performer, etc. It all depends on what performers are currently available. It is possible to play the actors parts from a tape, or omit them completely and perform them on a piano with only an electronic layer.
 
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) Jorge Ramos - Electronik Peace
During Mahatma Gandhi's stay in England in 1931, when the Columbia Gramophone Company requested him to make a record for them, Gandhi pleaded his inability to speak politics and added that, at the age of sixty-two, he could make his first and last record which should, if wanted, make his voice heard for all time. Confessing his anxiety to speak on spiritual matters, on October 20, 1931, he read out his old article On God.
For the purpose of this work, I extracted the following passage: There is a mysterious power that pervades everything.
 
Jorge Ramos is a Portuguese multiple award-winning composer, sound artist, and researcher based in London. He has written solo, chamber, symphony, mixed, electroacoustic, live-electronics, film, stage, installations, and advertisement music for festivals, orchestras, ensembles, and soloists across Asia, North America, South America, and Europe, while also collaborating with other artists computer music design.
Jorge Ramos holds a Doctorate in Music Composition granted by the Royal College of Music London. He currently serves as a collaborator at The ACTOR Project — Orchestration practice in the 21st century (CAN) and CESEM ESML (PT). He is an European Network of Opera Academies Artist.
https://jorgefpramos.com
https://www.instagram.com/jorgefpramos/
https://www.linkedin.com/in/jorgefpramos/
https://www.facebook.com/jorgefpramos/

5 Jane Draycott – Broken (6:05) 6 Clovis McEvoy - Calls for Cages (10:15) 7 Simon Hutchinson - Mental Upgrade (6:35) 8 Vincent Eoppolo - In These Times of Chaos - The Fog of Memory (7:48) 9 Colin James Woods - Near Finsbury Park (3:18)   5) Jane Draycott – Broken   How simple really is the quick fix? How glorious, deep down, is the glorious scar?  Inspired by the upbeat aesthetic of how-to videos and the popularity of the Japanese art of kintsugi, Broken brings together five voices in a poetic montage exploring fracture and mending, mental ill-health and repair.  Recordings from the worlds of gold-panning and the DIY phone-fix, forensic psychology and shattered porcelain are threaded through with a meditation on the idea of beautiful imperfection, and the relation between deprivation and trauma. Grateful thanks are due to artist Momo Nishikawa-Toomey and Holly Price, CPsychol, for their contributions to 'Broken'.   Jane Draycott is a UK-based poet with a particular interest in audio and collaborative work. Her poetry has been nominated variously for the T S Eliot Prize and Forward prizes for Best Collection,  Best First Collection and Best Single poem, while her collaborative sound compositions with Elizabeth James have won a BBC Radio 3 Poem-for-Radio selection and a London Sound Art Award. Twice recipient of a BBC Writer’s award,  her broadcast audio work includes features on BBC R3 (Between the Ears), LBC radio and Resonance FM,  with installation work including Orleans House Gallery and The River and Rowing Museum. https://www.janedraycott.org.uk/ https://soundcloud.com/aneraycott 6) Clovis McEvoy - Calls for Cages Calls for Cages critically examines the practice of displaying animals in cages for human pleasure. It places the calls and songs of primates – recorded at the zoological and botanical gardens in Hong Kong - within an imagined natural landscape, before stripping that sound of its environmental context and brutally reshaping it to fit with a new, human imposed reality. In the closing section, we are finally presented with the original, unedited audio of the city waking up, and the animal calls slowly diminishing to silence. Clovis McEvoy is an award-winning composer, sonic artist, freelance writer, and a founding member of the artist group, Rent Collective. Born in New Zealand, he currently splits his time between NZ and the UK. Clovis’ creative practice incorporates acousmatic music, live electroacoustic music, interactive sound installations, and music for virtual reality experiences. His live and installation works have been presented in over fourteen countries. In 2026, Clovis will be artist in residence at Spreepark Art Space in Berlin, Germany, and Pier-2 Art Centre, in Kaohsiung, Taiwan, where he will be working on a series of audiovisual installations. https://www.clovismcevoy.art/ Instagram: @newlybruised 7) Simon Hutchinson - Mental Upgrade Timothy Morton writes “Thinking ecologically about global warming requires a kind of mental upgrade, to cope with something that is so big and so powerful that until now we had no real word for it.” On one hand, this could be interpreted as a reason for despair—we are not prepared to conceive something so large. We can, however, decide to focus on the hope of this statement instead, that a “mental upgrade” will help humans better engage with this challenging hyperobject. This piece, entitled Mental Upgrade, draws inspiration from Japanese kagura, Shinto music and dance. Shintoism is a religion concerned with multiple kami, sacred spirits that inhabit objects and nature, in a way simultaneously engaging with our perceptions and the sacred infinite. I am not a trained kagura performer, and I make no claim that my synthesized piece is aesthetically connected to this tradition, but, in creating Mental Upgrade, my Simon Hutchinson is a composer and interdisciplinary artist who uses technology as both a creative medium and a thematic focus. His work emphasizes the human dimensions of technology, challenging contemporary technoculture and advocating for a thoughtful approach to our digital age. https://simonhutchinson.com/ https://www.youtube.com/@SimonHutchinson 8) Vincent Eoppolo - In These Times of Chaos - The Fog of Memory Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world. Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America https://www.facebook.com/profile.php?id=100007788824642 https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw 9) Colin James Woods - Near Finsbury Park Processed field recording from a trip to London.  Includes a jogger, birds and a single spoken word. Originally designed as part of an installation piece with a modified discarded mannequin as the diffusion source. Colin James Woods is an Irish-born freelance artist and sonic practitioner based in Belfast (N. Ireland). Colin was born in Belfast (N.Ireland) and moved to Aotearoa/New Zealand in 2002. Colin went back to study, gaining a Diploma in Contemporary Music (from Unitec, Auckland), a BMus (Hons) in Composition from the University of Auckland, and a Master’s Degree in Creative Technology from AUT (Auckland). He returned to Belfast in 2023 and is currently working on his PhD project at Ulster University, where his research uses his practice to examine the notion of the artist as co-creator. colinjameswoods.com

Leonie’s nomad project Cultural Spaces returned to Iran in 2019. Her sound portraits of Panjim and the Goan countryside were installed at Motorkhooneh Gallery - an art space that literally and figuratively operates underground. 20 meters underground to be precise, hidden at the lowest level of a parking garage. During her stay there she recorded the sounds you are hearing. They were transformed into this composition in 2023, when Cultural Spaces, with the pandemic finally and completely in the past, was able to come back to life at the Zwitschermaschine in Berlin. It is there that this piece was premiered, while Leonie recorded the sounds for the next stop of Cultural Spaces.

Artist bio:
Leonie Roessler - Composer and Performer raised in Germany and the US, now based in The Hague, Netherlands. Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. Part of her work is purely sound-based, however the theme of marginalization has become increasingly present in her radio works. She curates On Air - On Site Festival, and co-manages Iranian record label Noise à Noise with Soheil Soheili. Her works have been released through Musica Dispersa (ES/UK), Noise á Noise (IR), Biodiversitàs, Syrphe(DE), Antilounge(NL), and have been physically archived in the British Library.


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

Soil Balance / Dramatic Words is an assembled melodrama around the themes of surveillance, conspiracy to murder , and transcendence. It was assembled by John Hall in Ulverston. It features the voices of Felix Bressart, Bernard Cribbins, Leslie Crowther  James Gleason, Henry Kendall ·Richard Levitan, Ida Lupino John Mills, Chris Schenkel, Victor Stanley, Arnold Palmer, and William Powell, and additional material by Steve Tyson and Damian Rose

With original music by John Hall

It is dedicated to David Round.

Biog: John Hall is based in South Cumbria, He explores archives, rotting plastic bags in charity shops and all things inbetween to make audio, video,music and print about ritual, tradition and communal memory. He is artist / director of Artspace, produces Flypaper, a zine on vernacular creativity and is compiler editor of the book Play Summat We Know; Independent Music and Community in Barrow in Furness 1976-96, with Barrow Dock Museum.

"A weirdly thrilling project" (Wire magazine)

http://www.johnhallartist.com/

Website/social links
https://www.johnhallartist.com/

"The Hanging Stranger" is an electronic radio opera in 13 movements, commissioned for the 2021 Cohen New Works Festival as a collaboration between composer Monte Taylor and librettists Lena Barnard and Sam Mayer. Based on the (now public domain) short story by Philip K. Dick, "The Hanging Stranger" presents a modern reinterpretation of the themes of social paranoia and political violence present in the original story. When a hive of sentient insects take residence in a small American town in search of a better life for their kin, the social rot of the town and atomized neuroses of its residents bubbles to the surface. Eventually, the underlying problems of the town become impossible to reconcile with its existing social order, as the townsfolk seek violent retribution agains the insects, as well as each other. Artist bio: Monte Taylor is a composer and Clinical Assistant Professor of Music Technology at Purdue University. Monte’s compositions have been recognized though the KLANG! International Electroacoustic Composition Competition and the American Prize. In November of 2024, he will serve as a Fulbright Specialist on the project ‘Artificial Intelligence in Sound Design and Editing’. His works have been presented on conferences and festivals including Electronic Music Midwest, Matera Intermedia Festival, Novalis Festival, NYCEMF, SCI, SEAMUS, Seoul International Computer Music Festival, SPLICE Institute, TUTTI Festival, and Web Audio Conference by ensembles including Bent Frequency, Duo Tudor-Režić, Line Upon Line Percussion, and [Switch~ Ensemble]. Website/social links montetaylormusic.com

'Victory Monument to the Vanquishing of the Artists by the Engineers' (built of text, wildly unstable and utterly unbuildable in any traditional sense) prematurely announces a victory.

Artist bio:
Jenna Collins' solo and collaborative artwork across media but primarily video and sound has been broadcast, exhibited and screened widely at venues across the UK and further afield.

Website/social links
http://www.jennacollins.com
insta: @jennacollinspa

When you watch a particle it acts like a particle. But when you look away, it does a whole other thing. This story explores modes of experiencing the strange quantum basis of an everyday life. It journeys through split déja-vu, Schrödinger’s hamster and the clouds of possibilities that are hiding just beyond our reach.   
 
Credits: Produced by Anne Jeppesen, under the mentorship of Cristal Duhaime. Produced as part of the YASS! mentorship programme. 
 
YASS! You are so sound! is a one-to-one mentorship program for emerging or experienced authors and audio artists of any age. https://www.luciafestival.org/en/yass-mentorship-program-2324/  
 
Bio: Anne Jeppesen is a Copenhagen-based creator with a focus on immersive experiences for radio, museums and XR media. She co-directed the VR-film A Vocal Landscape that premiered in Venice Immersive in 2023 and won three awards, one of them being Best Theater in Show at Siggraph Asia 2024 in Tokyo. Anne’s main arena is working with the plasticity of the audio space and she’s is always seeking out new ways of combining the cosmic vastness with micro details from our every day world.
 
 https://superposition.dk/  
https://www.luciafestival.org/en/evento/reality-looks-back-2/

A city symphony by David Cowlard and Andrew Moon/RST

The Western Line is the railway line that runs from the city centre of Auckland, New Zealand, to the outer suburbs and back again. Thousands of people ride the railway on their daily commute and the journey allows for a unique experience of the city as the railway cuts through closely packed urban housing, light industry, suburban homes and out into the greener rural landscapes. Passengers experience this flickering landscape while thinking of other things.

Western Line expands this fragmented terrain and explores the aural moments where the railway intersects with the urban fabric of west Auckland. Mixed from over 18 months of field recordings from stations, train rides and long walks along the railway line and improvisational drone guitar, the city and soundscape are interwoven; matching the situational experience from the trains and the spaces through which they pass

Artist bio:
David Cowlard is a filmmaker, sound artist, curator and educator. His interdisciplinary practice is located in the exploration of contemporary urban environments and includes working across photography, moving image, field recording and sound design. His work has been exhibited, screened and broadcast widely in New Zealand and internationally. David is the curator of http://www.unreliablelandscapes.net an exhibition platform for the digital city.

Andrew Moon / RST is an experimental musician and recording artist. He has performed widely in New Zealand and in China and his work has been released on labels such as Ecstatic Peace Records, boomkat and utech records.

Website/social links
https://www.instagram.com/photourbanist/
https://utechrecords.bandcamp.com/album/rst
https://rstsound.bandcamp.com/album/western-line
https://audiofoundation.bandcamp.com/album/western-line

 
Yve Lomax - Quer - ep 2: The spirit of justice (7.05) 
Yara Asmar - may (5:16)
 
 
Yve Lomax - Quer
ep 2: The spirit of justice (7.05)
 
Credits: With thanks to Jono Lomax (sound) and Vit Hopley (script). Thanks also to Kristen Kreider.

Synopsis: Quer is a single voice spoken performance that moves through various modes of address, mixing the poetic, philosophical and the everyday. It is an experiment in how to say something and touches upon things considered pressing for living today. This includes: violence and the cry Why am I being hurt?; attentiveness, justice and ceasing to treat the Earth as a property to be owned; nonviolence and the magic of compassion; dissolving the distinction between ‘us’ and ‘them’; the question of belonging and how saying ‘I am queer’ up-ends it. Quer ends with the assertion that all of life is profoundly transverse and plays upon the old meaning of ‘quer’ as oblique, transverse.

Artist bio: Yve Lomax is a visual artist, writer and editor. She is currently a director of and editor for Copy Press publishers and its audio-visual platform Becoming Fireflies. Since the late 1970s she has exhibited nationally and internationally. Her first book of collected writings was published in 2000 under the title of Writing the Image. Recent publications: Here from There (a shared book with Vit Hopley, 2024); Nearness (2019); Figure, calling (2017); Pure Means (2014). Films/spoken performances include: Mad about justice (2022) and Political Life (2021).  Formally, she was a Senior Research Tutor at the Royal College of Art and Professor of Art Writing at Goldsmiths, University of London. Besides feminism, a longstanding concern has been writing for spoken performances.

Website/social links:
copypress.co.uk
 
 
Yara Asmar - may (from the album 'Stuttering Music')

Tape letters between two friends, one living in a blanket fort, the other in a house of paper, and both deeming each other’s homes unsound, can’t seem to agree on who should visit the other. So instead, one of them builds a house they can meet in, out of the safest material: Noise.

Biography:

Yara is a musician and puppeteer based in Beirut, Lebanon. She incorporates accordion, metallophone and electronics in her live performances. In addition to her musical work, she has participated in exhibitions where she featured sound and video installations including ‘Sonatina for 19 Music Boxes’ (interactive sound installation), ’The Cut-Throat Finch Preludes’ (tape loop installation), ‘I Liked it Better When We Lived on See-Saw Hill’ (video installation) and ‘Lapses’ (interactive sound installation). Last year she released  ‘Mr. Samuel’s Teatime Stories for Good Kids and Confused Adults’ - A puppet film in four parts.


Links:

Website: https://yaraasmar.com/

Bandcamp: https://yaraasmar.bandcamp.com/album/stuttering-music

Instagram:  https://www.instagram.com/microwave.blues/

Related video:

https://www.youtube.com/watch?v=BhLch7CdWAU

The piece ‘Tobraichean mo Sinnsearan’ is a layered Gaidhlig soundscape weaving memory and place, anchored in the voice of my great grandfather ‘Tuam Ross’ (1876-1960). The piece is derived from field recordings taken by my Great Uncle and Great Aunt (James and Anne Ross) for ‘The Scottish School of Studies’ aural archive in 1957. In the field recordings they interview ‘Tuam’ on the uses and behaviours of the different wells and springs of his local area (Fàsach, Glendale) on the Isle of Skye. Some wells would dry up or get warm in the summer, while others would stay freezing cold at all times of year. There are some wells which are known to have healing properties. There is one he would visit to get water for his sisters or brothers when they were sick. His aged voice carries stories of water, earth, and tradition—of wells that served not just as lifelines, but as spiritual landmarks in the community. These transcripts are layered with contemporary field recordings I’ve taken at ‘Loch Shianta’- a health spring on the Isle of Skye located close to where my family was from.   Cashlin is a Gaelic-speaking artist and experimental musician. Her work explores themes related to ecology and often investigates capitalism's relationship with nature and the human psyche. She enjoys examining subjects from different perspectives—ranging from the micro to the macro. She plays with time and the viewer's subjective understanding of space to reveal hidden perspectives and create illusions.

Immersion in the far north, where the wind blows, the snow cracks and the ice rolls and scraps. Where one does not enter by chance, but by leaving the comfort of daily certainties. Where we lose our footing and our bearings, where we sink into these wide valleys dominated by icy mountains, until we let ourselves be crossed by the raven, which flies away.
How do we deal with the retreat of the North as we know it?
Garanas Lokte is composed exclusively with fieldrecording in Swedish Lapland. I never felt really welcomed by this landscape, until the day I started listening to it, with my microphones. From that moment on, I was able to begin to enter into a relationship with it. This power of listening allows us to find permeability, connection and wonder with our surroundings, to get rid of the ignorance that paralyzes us.

Artist bio:
Anne Versailles, lives and works in Brussels. Geopoet and walker, her work explores displacement, crossing and slowness. As a sound artist, she collects sounds while crossing territories and composes acousmatic works born from the energy of the crossed landscape that she then often diffuses in the form of in situ sound installations. She also composes for radio creation, theater or sound walks. She also writes and this literary work is not different from her sound work, the two are often mixed.

Website/social links
http://www.anneversailles.be

1) Carlo Patrão -改 善 Kaizen (5:21)
2) Rhiannon Clucas – Marmalade (5:28)
3) David Sappa - things we bring (18:00)
 
 
1) Carlo Patrão -改 善 Kaizen

改 善 Kaizen is a radiophonic sound collage of North American "tech speak" and "corporate jargon" that overuses the Japanese term Kaizen, meaning continuous improvement, as a form of control and shield against listening, responsibility, and reparation.

Carlo Patrão is a Portuguese radio artist and researcher based in NY.


2) Rhiannon Clucas – Marmalade

This work is an ode to ritual and morning, places where my memory of radio lives within.

I am a devoted enjoyer and sometimes maker of sounds.

instagram.com/rhiannonsianclucas


3) David Sappa - things we bring

From a game exploring involuntary memory retrieval and it's link to the environment - this sort of interplay between internal thoughts and projections, and external factors or triggers tugging those out of us - this materialised into an installation. I'v had these dictaphone memories sat with me for several years now - sharing a ligurian heritage with the voice you hear - it's felt somehow relatable and vivid to me and wanted to play with this dynamic further

I am a sound artist and experimental musician  working through D.I.Y kinetic and interactive sound objects, improvisation, field recording, oral histories and quantum listening.

I am 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.

https://davidlorenzosappa.cargo.site/
https://www.instagram.com/bloopdyblooop/

4) Noel Zavala - African Lullaby Drone (5:00)
5) Maria Howard- Striations part 2 (3:04)
6) Roberto D'Ugo Junior - FORGOTTEN LOOPS' SKETCHBOOK (2023-2024) (17:09)
7) andre birken - 31 monstrous demonstrations -DAS MEDIA CONTROL ORAKEL (2:58)

 
4) Noel Zavala - African Lullaby Drone

I sampled a few seconds of the song African Lullaby, by Bruce Haack and Esther Nelson from their Electronic Music for Children album, to create this remake as a drone version. The vocals were isolated using AI before being sampled, then the main notes of the bass line (transcribed from the Bruce Haack songbook) were used to generate a midi using MuseScore, then turned into different instrumental layers using a free online sequencer. Then all was edited an mixed intending a drone effect.

Noel Zavala (Monterrey, México, 1981) is a creator of concrete music and electronic music with his project sarabandPersona. He was part of the free improvisation groups Silent Twin, Talleres Cosmic and Hibridaciones Salvajes, with which they participated in local festivals and in the recording of several ambient, noise and psychedelia pieces. In 2024 he joined the sound experimentation and free improvisation collective, Tsunami Wave. In duo with Gerardo Colin he is working on a series of harsh noise albums for Otcrah Records.

https://linktr.ee/noelzavalaa?utm_source=linktree_profile_share&ltsid=721230e0-6c48-4af2-98bf-a07d2e357729

 
5) Maria Howard- Striations part 2

From an ongoing series entitled ‘striations’ – repetitive and discordant sounds of fluting, fissures, strings, inspired by the loops of social reproduction and Glasgow's organic and architectural columns.

Featuring:
Fiddle versions of ‘Bella Ciao’ and ‘Fischia il Vento’ by Ruaridh Newman
Tones by an unknown organist at Glasgow Cathedral
Stridulations by anonymous collectives of cicadas in Italy and Scotland (with occasional frog vocals)

Maria Howard is a British-Italian artist and writer based in Glasgow. Working primarily with text and sculpture, her research-led practice is concerned with the poetic and political connections between memory and imagination, site and material, colonialism and climate, architecture and social reproduction. She is also a co-editor of Nothing Personal magazine.

mariahoward.org
@tenderasmemory (instagram)

 
6) Roberto D'Ugo Junior - FORGOTTEN LOOPS' SKETCHBOOK (2023-2024)

Life is a beautiful glitch. A rhythmic essay on our flaws and imperfections. An infinite list of small mistakes and forgetfulness that swirl and thicken in the mind of the poet, a sound artist. Beckettian anti-resolutions that emerge like a litany during a brief meditation on everyday life. The author's poem, presented by means of a superimposition of vocal lines made up of loops with different psychological framings of the text. Simultaneities. The irregularity of the loops used in the piece, the result of sudden gestures of improvisation on the recorded material, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Cuts and overlaps animate the resulting patterns. The piece is made up of three parts: parts 1 and 3, fast and essentially rhythmic. Part 2, broader, slower and cumulative; semi-discursive, punctuated by hesitations and squeaks. Voice: Anna Carl Lucchese.

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

 
7) andre birken - 31 monstrous demonstrations -DAS MEDIA CONTROL ORAKEL

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)

"humana|machina" is an electroacoustic music composition that invites you into a sonic realm where the boundaries of human and machine dissolve. It takes as its starting point the more or less voluntary extension of – or intrusion into – human senses and capabilities by means of technology. The work is composed of sounds that are both organic and mechanical – sounds of machinery and electromagnetic fields generated by various kinds of electronic equipment ("machina") juxtaposed with the sounds of the human voice ("humana") in more and less manipulated forms. It is structured around a narrative generated by AI-based language models, performed by four voices, two male and two female created using AI voice synthesis, that each has a separate role in the narrative.
The work is originally composed for multichannel concert performance, and is presented here as a stereo version.

Artist bio:
Frank Ekeberg is a transdisciplinary artist, music composer and researcher working in the intersection of the natural and the constructed. His work explores issues of ecology, time, spatiality, and radical change, with a particular focus on nature spaces, technopolitics, and the interplay between human and non-human worlds. Primarily working with sound using obsolete as well as emerging technologies, Ekeberg’s artistic output includes generative installation art, electroacoustic music, photography, and interactive audio-visual creations. Site-specificity and integration of spatial elements in the compositional structure are at the core of most of his projects. Frank Ekeberg is based in Trondheim, Norway.

Website/social links
https://www.frankekeberg.no
https://www.instagram.com/fekeberg
https://frankekeberg.bandcamp.com

Diamonds and Rust follows it's protagonist, Jane, as she finds and secures an undefined and precarious office job, where the manager wears designer socks and the hot desks remind the team of their vulnerability to replacement. In an attempt to define her own value, Jane oscillates between states of usefulness and dysfunction, production and refusal, eventually organising increasingly long cigarette breaks with colleagues: meetings where everyone contributes, and no one actually smokes.

This work is an audio version of a film of the same name, produced for the solo exhibition False Note, at Site Gallery, Sheffield, 2024, co-commissioned by Site Gallery, Artes Mundi and Wales Venice 10. The soundtrack features vocals by, and music composed in collaboration with, Emma Daman Thomas. The first sonic iteration of Diamonds and Rust was commissioned by Goldsmiths CCA, London, as a performance in July 2022.

Artist Bio:
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).

Link to website and/or social:
http://www.freyadooley.com
@freya_dooley (instagram)

1) Jo Kennedy - How To Save A Nutty Noise Maker (8:00)
2) Felice Sciorilli - Soundscapes of Mare Tuscum (3:52)
3) Catalina Barroso-Luque – Cackles (3:00)
4) Nicola Monopoli - Cinque poesie di Maria Luigia Troiano (7:30)
5) Tom Williams - Piano Trace (9:12)
 
 
1) Jo Kennedy - How To Save A Nutty Noise Maker

The piece is composed from field recordings, interviews and narrative and takes people on a journey up to Scotland and across the sea to the Isle of Tiree. This Inner Hebrides island is one of the UK's last remaining UK strongholds for an elusive, but noisy brown bird called the Corncrake. We hear from someone (my mother) who remembers hearing the bird at the bottom of her garden when she was little, and from the RSPB’s Tiree officer (John Bowler) who works with farmers on the island to secure the bird’s future. Tiree resident Jamie Macdonald also introduces us to old Gaelic names for the bird. It's a story of a once common sound (and bird), now lost to the countryside, and how we could bring it back.

Jo Kennedy is a Todmorden – based sound artist who uses field recordings, found sounds, spoken word and music to create immersive audio experiences, whether these be fixed pieces, soundwalks or installations. Recent commissions include sound design work for Breaking Barriers, the Artichoke Trust, BBC Radio 3 and the RSPB. Her own creative practice often engages explicitly with ecological issues, responding to questions about our relationship with the landscape and living world. She co-produces Nature Tripping podcast which is all about going out to connect with nature and listen in to what's around us.
http://www.jokennedysound.com
X: @chasingsticks
Instagram: jokennedysound

 
2) Felice Sciorilli - Soundscapes of Mare Tuscum


 
The recording was made on a cold January morning
at the natural reef of the Etruscan coast (Castiglioncello, Tuscany, Italy) in the Tyrrhenian Sea
using a hydrophone lying on the seabed.
 In the recording you can hear, in the foreground, the sounds produced by the buzzing of sea snails 
as they scrape rocky surfaces in search of food, and ticking alternating with hissing sounds; probably produced by the presence of crustaceans.
 Closing the scene, in the background, the waves of the sea can be heard gently breaking on the cliff.

 
 
Felice Sciorilli is a musician, field recordist and music teacher.
 He has a degree in classical guitar. After studying electronic music
he started to deal with soundscapes, attracted by the symbolic and evocative aspect of sound.
His research develops through the sound exploration of 
urban and natural contexts. He currently lives in Tuscany, Italy.

 
3) 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.

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

 
4) Nicola Monopoli - Cinque poesie di Maria Luigia Troiano

This work, composed by Nicola Monopoli, features spoken words and electronics, inspired by poems written by the Southern Italian author Maria Luigia Troiano, specifically provided for this project. The performance stars Francesca Romana Garroni, an established actress known for her work with RAI, the Italian state television.
The piece explores various aspects of everyday life, ranging from the painful metaphor of an iceberg to the chaotic hegemony in family life, as well as reflections on the relationship with nature from a balcony perspective..

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) Tom Williams - Piano Trace

'Piano Trace' is an acousmatic composition that explores the sonic potential of a single instrument: the piano. This work is rooted in a series of recordings captured from the piano's soundboard, keys, pedals, and strings. These intimate sounds form the foundation upon which the composition is built.
Through digital manipulation and transformation, the original recordings are reimagined, yet their inherent timbre and character remain evident. This underlying trace, or sonic DNA, provides a sense of continuity and integrity throughout the piece.
Two distinct musical threads intertwine, forming the framework for the composition. These threads, like cords or ropes, suspend the shifting gestures and interruptions that unfold within the piece. The interplay between these threads creates a dynamic and engaging listening experience. Piano Trace was premiered at the Jauna Muzika festival, Lithuania, and was awarded Special Prize at the 4th Ise-Shima International Composition Competition.

Tom Williams is a composer whose work spans both acoustic and electroacoustic music. His compositions have been performed internationally, broadcast on the BBC, and recognized with awards including the Italian music medal "Città di Udine" and been nominated for an Ivor Novello Sonic Art Category award.  He has collaborated with renowned musicians such as New York cellist Madeleine Shapiro, soprano Juliana Janes Yaffé, clarinettist Sarah Watts, percussionist Thierry Miroglio, and Orchestra of the Swan.
He has a doctorate in music composition from Boston University and currently leads the masters’ courses in music at Coventry University.
https://tw-hear.com/

6) Hector MacInnes - Noise!Impact!Assessment! (Windfarm Exoacoustics) (15:00)
7) Eleanor Lee  (Hyo-Eun Lee) - Ariadne's thread (3:19)
8) STUMPED - Slumber, Young Summer (6:10)
 
 
6) Hector MacInnes - Noise!Impact!Assessment! (Windfarm Exoacoustics)

Noise!Impact!Assessment! is a wider project interrogating the way we listen when in spatial or temporal proximity to a real or imagined wind turbine. What are its exoacoustic properties? Not the way sound reverberates around its interior, but the way listening changes around its exterior. This piece is a windblown binbag of thoughts littered across the soundscape of an unbuilt development of turbines. It uses unshielded field recordings of wind, made at the locations of a proposed windfarm on the Isle of Skye, to fragment and scatter the aeolian reflections of Muirhall Energy Ltd, Hayes MacKenzie Acoustic Consultants, Yoko Ono, Tim Ingold, The Scorpions, Seumas Heaney, Samuel Taylor Coleridge, Eachann Macfadyen, Richy Carey, Salome Voegelin, The committee for the abolition of outer space, TS Eliot, Gertrude Stein, Alvin Lucier, Holger Schulze, and Ursula le Guin.

Hector MacInnes is a socially engaged sound artist and researcher from the Isle of Skye in the Highlands of Scotland. He creates through spoken word, sonic fiction, installation, text, tech, music, radio and organising things, often in collaboration with other artists and a diverse range of communities. He is co-convenor of the We Have Questions artists' working group with Cat Meighan, and is currently undertaking a PhD exploring sonic rural futurism and the New Weird at Creative Research Into Sound Arts Practice.
http://www.hectormacinnes.com
instagram.com/hectormacinnes

 
7) Eleanor Lee - Ariadne's thread

This sampler instrument captures the interplay between various physical objects (i): piano,
singing bowls, and wine glasses, and the physical forces or events (ii): keys being
pressed, bowls resonating, and glasses filled with water and made to resonate by
fingers. I documented and analysed each event’s significance and playback by
examining the interactions between i and ii and the resulting evidence of an
unseen new world.

This composition draws inspiration from Reza Negarestani's speculative novel
"Cyclonopedia." "Cyclonopedia" is structured as a theoretical novel, integrating
various heterogeneous elements to present a unique worldview and
philosophical inquiry. The main theme revolves around viewing the Earth as a
living organism, where subterranean materials and energies interact with surface
events, influencing political and historical occurrences. I explored how these
seemingly irregular and unrelated dispersed activities (ii) form a cohesive whole,
akin to how the Earth, or in this case, the composition, is created.

Eleanor Lee is a London-based Korean composer, producer, sound artist, and interdisciplinary artist. She has created music for institutions such as The National Gallery, the Barbican Centre, ERCOL, and Vidal Sassoon Academy, as well as for numerous short films. Her work embodies an interdisciplinary approach influenced by contemporary art, seamlessly navigating between genres. Eleanor believes that music is more than just an auditory experience- it can transform into a multifaceted art form that encompasses social, political, and economic critique. She aspires to create research-based music and develop methods of sonic fiction.
https://eleanorlee.com
https://www.instagram.com/eleanorleemusic/

 
8) STUMPED - Slumber, Young Summer

"Slumber, Young Summer" is cumulative dial/wave surfing fondness from two folks raised in the eastern United States far from shore. It's difficult to explain why the idea of barreling down California State Route 1 while fiddling the dial to find just the right score to the drive resonates with either of the duo. It's also clear that the attempt to replicate this never-lived experience misses the mark, but instead hits another: daydreams of some faraway warm coast, fuzzing in and out of focus; of unattainable or missing environs which are never captured the same way in present as they are in the mind's eye. How water feels the present moment you break the surface versus the way one imagines the same cool, cool waters swallowing oneself from the sunlight when the ocean couldn't be further from sight.

Consisting of Berlin-based Page Swanson and Adam Buffington in Iceland, STUMPED strain field recordings and borrowed sounds through various analogue and electronic processes, resulting in a sonic puree that's never stodgy.
https://www.corephonesound.com/

Fossilised Frequencies is an experimental radio show combining hertz and voices found throughout different regions of the world - creating listening experiences that connect us to the vast ever present sonic landscapes of our world.

During the project in 2018 for Protection and Research of Language Resources of China, Peilin and the team recorded mountain songs, nursery rhymes, and folklores from local voices back in Peilin's mountainous hometown, Lianping, China, to preserve the rich oral culture of Hakka.

Fossilised Frequencies is a monthly radio project hosted by Riah from Listen Gallery at their residency at Radio Buena Vida. In the summer of 2024, Riah and Peilin produced this one hour broadcast layering archival material with live recorded singing in Hakka, bringing these raw recordings to ancient Hakka sounds to life.

Artist bio:
Peilin Shi, a (re)emerging wanderer based in Glasgow, practices on humanising historical contexts, by investigating archives to rethink the past in the context of the present and future. Her work involves anthropological inquiry on female migrant experience, into collective behaviours, shared human emotions and destinies under urbanisation and globalisation.

Riah Naief is a sound artist and worker behind Glasgow’s Listen Gallery. They are interested in sharing and curating listening experiences for all people, as an accessible practice rooted in care and love. Their Iraqi heritage inspires a passion for hospitality and informs how they make spaces to nurture creative exchanges.


Website/social links
https://www.listengallery.co.uk/home
linker.ee/PeilinShi
instagram:@listengallery @puoilim_shak

'Broken Bridge' is a live radio play knitting together narrative voices; field recordings; movement and live instrumentation. Drawing on the artists’ childhoods in satellite towns in the North of England and Central Scotland respectively, the piece will explore the blurred remembered landscapes of youth and the shifting use, uselessness and transformation of the scrubby edgelands where childhood and teenage life unfurls. The live performance will start with a script inspired by walks through the places the artists knew - the childhood haunts on fallow fields, fishing lakes in open cast mines and the rapid re-developments of 24-hour supermarkets; housing estates and distribution centres that either stand shoulder to shoulder or change such landscapes beyond recognition. Broken Bridge will build a semi-improvised auditory world from the secret landscapes of fields, streams, mosses, vennels/jennels and motorway bridges to explore the secret places of childhood hidden away from the adult gaze. Artist bio: Marvo Men is the duo of Ben Ellul-Knight and Euan Currie. First performing together in the late 00s, showering spittle on audiences in both the experimental music and poetry scenes. They went onto release recordings on the legendary underground label Chocolate Monk and publish text scores in the journal Jacket2 before disappearing into the ether, presumed dead. In the intervening years, both members have veered through various projects spanning sound poetry, spoken word and rudimentary electronics before reuniting to traverse the hinterlands of repurposed landscapes and fading memories. Website/social links https://jacket2.org/poems/poems-marvo-men https://youtu.be/wtysuqyi7OE?si=3HcoDjSBxsuuDgIa

1) Phew - Days Nights (4:14)
2) Ale Borea - La humedad de la memoria (5:49)
3) Wolfgang Pérez - Memorias Fantasmas (9:55)

 
1) Phew - Days Nights. 
From the album New Decade.
https://phewjapan.bandcamp.com/music
 
 
2) Ale Borea - La humedad de la memoria
"La Humedad de la Memoria" is a sound piece created using samples from national Emergency Alert Systems (EAS) sourced from YouTube by audio enthusiasts. EAS is a public warning system that involves TV, radio, and cable networks, integrating elements of sonic warfare and social surveillance. This piece re-appropriates these sonic imprints to explore their post-mnemonic potential through creative reinterpretation, aiming to uncover new meanings. By decontextualizing these sounds from their original function—warnings of danger or catastrophe—it transforms them into a dreamlike soundscape. This approach invites reflection on the concept of "emergency," not just as a signal of threat, but as a space for the emergence of new possibilities. Vulnerability, alarm, and vigilance are stripped of their threatening connotations, suggesting the potential for a reimagined sonic future where the familiar sounds of alert evolve into creative expressions that challenge their intended purpose and invite new ways of listening.

Artist bio:
Ale Borea (Lima, 1993) is a Berlin-based percussionist and sound artist with a master’s degree in Philosophy, focusing on the phenomenology of listening. As an independent researcher, she writes about music for various publications and projects. She launched her solo project in 2020 and has released three EPs since then, in which she uses sound archive samples (mainly telecommunication noises) as carriers of affective resonance and collective memory. Her driving force is the aspiration to explore possible sonic deployments of these samples by expanding their inherent material vitality into dreamlike soundscapes.
http://www.instagram.com/borealeborea/
 
 
3) Wolfgang Pérez - Memorias Fantasmas

Memorias Fantasmas is based on a 1982 concert recording by my family in a church in Segovia, Spain, thought lost but rediscovered last year. The composition uses loops from the original recording, with minimal new material added (e.g., simple oscillators). Each of the three sections begins with a loop that is repeated mantra-like, inviting listeners to focus on sonic details, which are gradually varied and developed. The piece follows principles of Reduced Listening (Pierre Schaeffer) and processes the sounds through sampling, downgrading, filtering, and distortion.

The work emphasizes the spaces between sounds, allowing imperfections to take on a life of their own. It reflects the nostalgia for lost futures described in Mark Fisher's Hauntology, as the resurfaced material represents a past I didn’t experience, yet feel connected to.

Artist bio:
Wolfgang Pérez, a 30-year-old German-Spanish composer, producer, and multi-instrumentalist from Essen, Germany, is known for blending experimental electronic music with pop. A graduate in electronic and pop composition from Folkwang University, his work explores unconventional structures and electroacoustic textures. His second album, AHORA (2024), sung in Spanish, mixes Latin rhythms with intricate electronic soundscapes, while his upcoming album, Só Ouço, inspired by his time in Brazil, brings Brazilian influences into his experimental pop style. He is currently focusing more on the electronic line in his body of work, experimenting with Soundscape composition and immersive Multi-Channel pieces.

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

The work emerges as a collage of spectral remnants, weaving fragmented memories and sonic decay into a textured exploration of fragility and persistence. It navigates the temporal erosion of sound and memory, uncovering layers of meaning through glitch, plunderphonics, and drones.

Using obsolete media (minidisc's / CD), loops, and layered field recordings, Home Truths incorporates re-recorded WhatsApp voice messages—modern-day answer machine fragments degraded through repeated transfers onto minidisc. In some instances, these recordings underwent extensive processing, including guitar pedals and vocoders,  to craft the central sonic textures and motifs. Traditional musical elements—electric piano, guitars - were layered around this degraded archive of sound, creating harmonic interplay with the spectral echoes of friends, family and found radio recordings from the early 2000’s on minidisc. Special thanks to artist and friend Bel Gilbert Scott.
JW: acoustic & electric guitars, mini-disc players, CD players, electronics, field recordings, contact mics and objects.

Artist bio:

Jennifer Wicks is an interdisciplinary artist whose practice spans durational installations, audiovisual performances, sound art releases, and creative-critical writing. Her work interrogates memory, language, and states of being through experimental methods, emphasising light, time, and sound. Employing obsolete media, 16mm film, reappropriated materials, and custom light-to-sound instruments, she explores the materiality of sound and image. Using Media Archaeology and contemporary technologies, she treats them both as subjects of inquiry and as tools to critique the dominance of digital culture in shaping memory, perception, and our relationship with time.
Her solo live performances explore temporal dynamics, chance, and the mechanics of sound. Working at the intersection of industrial noise, sample culture, cut-up techniques, and expanded cinema, she addresses the limitations and possibilities of analogue film and sound systems. Using modified 16mm projectors, contact microphones, and multiple guitar effects pedals, she crafts immersive, textured, and dissonant audiovisual installations.

She has training in conventional music and holds an MLitt in Fine Art Practice (Glasgow School of Art) and an MSc in Sound Design and Audio-Visual Practice (University of Glasgow). She has received a Leverhulme-funded artist residency at Glasgow University (2011-2012) and was Artist in Residence at the University of Stirling (2022), working with the Norman McLaren archive. Her recent projects span international exhibitions and festivals. She makes music with WOMEN’S HOUR (Wicks and Contort Yourself head honcho Murray CY). LP released on L.I.E.S. Records, December 2023.

https://jenniferwicks.co.uk/

Paleficat, summer 2024, production UMR LISST (DR), UT2J , Benoit Bories, stereo and 8.1 live performance version.

"Paleficat" tells the story of the uncertain future of a piece of land. The certainty of the transformation of a landscape whose new face almost no-one knows yet. Probably the disappearance of the last traces of the market garden belt in the Toulouse metropolitan area. In this "agricultural pocket", irrigated by the river Hers, but already surrounded by buildings, bordered by the ring road and bled by the Boulevard Ubrain Nord (BUN), there are plans for urban densification. Housing instead of fields. And the city filling in the gaps so that new residents can come and live here, in the Paléficat district.

This sound creation is part of a wider observatory project for the Paléficat district, supported as part of a LABEX research project (LABoratoire d'Excellence, operation 7) and led by the LISST.

Artist bio:
Benoit Bories is a sound artist. He has produced audio documentaries and sound art pieces for different public broadcast companies.  Since 2016, he has been presenting his pieces in the form of "documentary concerts" and developing sound pieces for live performance, or installations. He has collaborated with several festivals and cultural venues for his performances and regularly participates in artistic residencies abroad. Benoit Bories has won several international awards and mentions for his sound work (Premios Ondas Prize, Prix Bohemia, Phonurgia Nova Awards, New York Radio Awards, Grand Prix Nova Romania, Prix Europa, IDA Awards).


Website/social links
https://faidosonore.net
https://soundcloud.com/user-945903241

A child shares her vision of the world. From her tale emerge songs and places where past, present and future intertwine. A polyphonic choir punctuates this epic, recounting the adventures of an infanta as she travels through multiple landscapes. From a salt quarry to the ruins of a palace, from a nocturnal forest to the depths of a storm, Onda & Storia is both a documentary account of childhood, which does not evade violence, and a musical fiction: a modest opera. Onda & Storia is an adaptation and extension of the radio performance "Un opéra modeste" created in 2021, on a child's scale.

Artist bio:
Myriam Pruvot is an artist and musician. While her work borrows from a wide range of media - installation, performance, text, radio, film - composition - it is always nourished by the question of song, language and place. She is particularly interested in the political, poetic and philosophical dimensions of these objects. As a writer and performer, she has collaborated on numerous radio, musical and choreographic projects in Europe and beyond. Her radio works have been awarded the Grand Prix Nova (2024), the Brussels Podcasts Festival (2022) and the SCAM-SACD (2021).

Website/social links
http://www.myriampruvot.com/en
https://www.instagram.com/mrmprvt/

In January 2023, at the invitation of the Goethe Institute Bangalore and the Srishti Institute of Art, Design and Technology, the Berlin-based artist katrinem visited the Indian mega-city Bangalore and explored it - with a broom. For the artistic-acoustic urban research, the broom served as a musical instrument, but also for the metaphorical "cleaning up of impressions", and finally, katrinem also came into contact with people through sweeping - so she got her brushwood broom, which is not for sale in stores, but is self-made, as a gift from a street sweeper who happened to have two, katrinem reported, and: "The broomsticks always remain the same and are decorated quite individually (as you can see on mine), the sweeping part, the bamboo twigs, is changed more often. It is twisted in a special way and tied to the stick with a string. This holds amazingly well! My broom flew back to Berlin with me," says katrinem, and there, in the streets of Berlin, the broom will now be used.   The audio material recorded during the five weeks of her stay feeds the art radio piece "BangloreKehren", which katrinem has divided into two parts. The first part is called "Walking my Bangalore broom through Malleswharam" - here we accompany katrinem as she walks through her residential area in Bangalore playing with her bamboo broom. In the rich soundscape of Malleswharam, the broom sound is a recurring and rhythmic motif.   The second part are "Broom Songs", together with Sam Auinger. The many recordings from Bangalore were selected by katrinem and Auinger according to musical criteria such as rhythm and timbre. In the five-minute piece "Quartet in the city with Broom, Shehnai, Cow and Dog," four voices meet: a street musician with his shehnai, an excited dog, the tinkling of a cow walking around, and the broom. Apparently they communicate with each other. These sounds are part of the soundscape of Malleswharam and can be found there again and again.   About "Broom Meditations in Cubbon Park" katrinem writes: "In the middle of the city lies Cubbon Park. There is also a subway station there. Brooms are forbidden in the subways. So my journey to the park was by rickshaws, which never refused to transport me with my broom. The park is like a large sound space without traffic sound in the near field. This dominates the Great Space and surrounds the park like a wall."   „Broom & the City" is about traffic-intensive moving space. The noise of the broom repeatedly mixes beyond recognition with the noise of the motorized city. Passing motorcycles provide the deep voices in the piece. Animal and human voices are clearly audible only sporadically. The space is sonically defined by the moving sounds of traffic.   The last of  the „Broom Songs“, "Sam's Broom Memory from Benares" is a find from Sam Auinger's audio archive: "While working on and listening through katrinem's recordings from Bangalore, I remembered one of my 1996 recordings made in Benares, in which the sweeping sound of a broom takes on a musical role, in the interplay of all audible voices and sounds."

"Four Days" is a telling of my mother’s final days in hospital in June 2013.

As content warning, this story indirectly touches on taboo topics of incest, paedophilia, sexual assault, and death. I connect the arc of these four days to my growing in kinship care and through to my last drink of alcohol.

Since 2019, I’ve been writing and refining this story. It is now finished.

The recording of my reading this story took place at the Rose Shure Experience Centre in October 2024, with thanks to Shure UK. I'm also very grateful for the support from Wisebuddah, and of Matt Podd, who carefully processed my voice.

The music between story sections is "Rain Ritual", one of the first pieces I composed after a 30-year break from music. It was my debut for the weekly @naviar-records Haiku Music Challenge. Listen here to that: https://soundcloud.com/leonclowes/rain-ritual-naviarhaiku3

Artist bio:
leon clowes is an artist researcher currently completing research into self-compassionate autoethnographic trauma-inspired performance practice at London College ofg Music.

An Open School East Associate Artist of 2022/2023, leon’s commissions include SPILL, Deptford X, Frieze and SUPERNORMAL festivals, Snape, NMC Recordings and LGBTQ+ Music Study Group for The British Music Collection.

leon is also a writer and editorial board member for Performing Recovery, the online magazine of the Addiction Recovery Arts Network. (https://recovery-arts.org/)

Website/social links
Website: https://www.leonclowes.com/
SoundCloud: https://soundcloud.com/leonclowes
YouTube: https://www.youtube.com/@leonclowes
Instagram: https://www.instagram.com/leonclowes/  
Twitter: https://twitter.com/ClowesLeon

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

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

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

A meteorite, a spoil tip, a mountain or an island. A fatberg. A co-authored story entangling fact, fiction and anecdotal prose. Three voices become one narrator, Celtic myth, folktales, traditions and superstitions are merged, layered and retold.  A hole or a bog, subterranean preservation - like a time capsule in a biscuit tin with a dodgy lid, buried 40 years ago but the water got in. What happens when fact becomes anecdote?

‘There had been heavy rain, a week of torrential downpours, incessant waterfall, fields of crops washed away overnight. Usually after heavy rain they clear the drains of organic waste, leaves, trees, silt and mud. But this time, this time they found a coffin.’

Preserving Hole is a conversational collaboration emerging from research sharing and exploration of practice intersections; fused in tangential storytelling, narrative building and myth making. Unearthing spurious information and hearsay to present a loose-narrative audiobook.

Artist bio:
Aled Simons (Wales), Bláithín Mac Donnell's (Ireland) and Tom Cardew's (Wales) practices overlap at a point of storytelling, narrative building and myth making. They are interested in unearthing spurious information and hearsay, sharing research crossovers and thematic touchpoints to form an experimental and conversational approach to writing. Collectively assembled, almost like an exquisite corpse, to present loose-narrative writing and audio. Drawing on Celtic nation backgrounds, their gathered output encompasses superstition, anecdote and also; the past, present and future all at once. Recently Preserving Hole was shown at Division of Labour, Manchester, UK. A collaborative exhibition of audio, sculpture and textiles.


Website/social links
Instagram:  @aled.simons   @blaithinmacdonnell    @cardewgram

https://www.aledsimons.com/home

http://www.blaithinmacdonnell.com

http://www.tomcardew.co.uk

1) Gregory Whitehead - How Still My Brainwaves (6:46)
2) Elisabetta Senesi, Ilaria Palloni - Flowing Pringipittu (PILL_01 Extended) (8:00)
3) Emma Diamond & Loris S Sarid – hair.wav (15:12)
 
 
1) Gregory Whitehead - How Still My Brainwaves

“His head was a mess, so his brain was a mess.”

A disintegrative composition for solo voice and cosmic crackle inspired by the structure and rhythm of a Langston Hughes poem, featuring a DIY ventilator that fails to sustain the patient.
https://gregorywhitehead.net

 
2) Elisabetta Senesi, Ilaria Palloni - Flowing Pringipittu (PILL_01 Extended)

The project was born from a desire to reflect upon universal and personal value of one’s native dialect, as well as the root from which it comes, made of physical and symbolic ties. The piece is a deconstructed sonic reinterpretation and an open oral score of well-known "The Little Prince" story book focused on territorial sounds/noises coming from the region of Marche, Central East of Italy, combining multiple layers of sonic transliteral flows with concrete and abstract spheres of voices, places and identities.This short initial piece of the entire project in which different sonic layers dialogue and conflict, is therefore open to multiple linguistic and auditory interpretations within a strong metanarrative and transdisciplinary contexts. Flute: Soprano, Side-Blow, Haynes Classic, Handmade, Silver, 2005 Microphones: XY, MS, Piezo Electric, H2N, IQ7 DAW: Mac Book Pro, NI Audio Komplete 2CH, Ableton, Reaper, Audition. Ideation, Creation, Voices, Electro Acoustics: E.Senesi, I. Palloni

Elisabetta Senesi
Artist and academic, she explores the relationship between sound and image, the everyday sonic spaces and aesthetical critical listening. Her work includes mixed media installations, public arts interventions, audio interactive works and experimental sonic compositions. She is lecturer/teacher in Sound Design at the Academy of Fine Arts.
http://elisabettasenesi.me/me.html
 
Ilaria Palloni
Flutist and musicologist, she collaborates with research groups in Italy and abroad, carries out her instrumental activity in various formations of chamber music, she teaches flute at some cultural associations with which she organises musical courses for children.
https://www.progettomusicaletiziatozzi.com/ilaria-palloni


3) Emma Diamond & Loris S Sarid – hair.wav

'hair.wav' is an immersive soundscape made with recordings of hair being cut, washed, razored & touched.
The piece was realised collecting recordings of Emma working with hair, emphasising the proximity and intimacy of the experience. Similarly to Emma's approach to cutting hair, the track wants to maintain the natural texture and organicity of the sounds collected, for this reason no effects were used apart re-pitching and stretching the sound sources. Melodic and unexpected sounds are the result of the extremely stretched recordings, to which occasional eq-ing was applied.
Best enjoyed in headphones!

Emma Diamond is a Glasgow based multi-disciplinary artist working mainly across hair, sound & found objects. Inspired by traditional folk-art & story telling, her work focuses on our connection to each other and the world around us, exploring mysticism in the every day.
Loris S Sarid is a Roman musician & sound artist, based in Glasgow since 2015. His work throughout the years has included songwriting, soundtracks and installation, blending elements of classic composition with improvisation and coding.
http://www.instagram.com/emmadiamondhair
http://www.instagram.com/loris_s_sarid

4) Diane Barbé - Recôncavo ao Redor (9:37)
5) Joan Schuman - Ghost Wolf (12:32)
6) Amirhossein Zeinali - Times Three (5:30)
 
 
4) Diane Barbé - Recôncavo ao Redor

Recôncavo ao redor is a sweaty listen to the banks of the Bahía de Todos os Santos, in Bahía, Northeast Brazil, at the start of the rainy season. The piece develops around different centres of attention, which trace out a possible, inaccurate and partial cartography of these tropical coasts, from the songs of crickets and the little weeping frogs, Razinha Choradeira, to the electromagnetic responses of scooters and generators on the streets. Also, a constant drone that floats over the salty lagoon –heavy, low, persistent. At night, as the mangrove silts snap and sparkle, the breeze brings back this wall of low-pitched hum. The warm waters gently lap on the enormous steel hulls of the container ships anchored in the bay. And slowly, they all seem to lean towards the largest petrochemical processing plant of South America, just a few kilometers up at the mouth of the Aratu estuary...

Diane Barbé explores the intersections of ecology and experimental music, working with field recording as much as with additive synthesis and wind instruments. Her work delves into the manifold practices of musicking: crafting flutes, globular whistles and percussion instruments from salvaged materials, developing practices of collective music ensembles with her project 'The Alien Kin', and kneading the relationship of sound and time through live looping, stretching and alterations. Her next album, Musiques Tourbes, comes out on forms of minutiae (Berlin) in the autumn 2024, unravelling a mixture of field recordings and additive analog synthesis –portrait of bogs and swamps.
https://www.dianebarbe.com/
https://www.instagram.com/diane.isadora/

 
5) Joan Schuman - Ghost Wolf

Ghost Wolf" imagines the sovereignty of disappearing beings. Through the listening frame of hollow spaces (the mouth and pelvis, a fist and the heart), there is a structure built of anger and wildness, weeping and wailing. From the long-standing hunting of hidden wolves to the contemporary battles of body sovereignty, questions arise: What is the country of 'otherness'? Which story do we choose to stand in?

My audiophilia whispers into the radio's ear via artist-curated programming. In 2015, I launched Earlid, a virtual space where I organize adventurous sound artistry and gather curious listeners. I listen and live along the rocky northern California coast.

Ghost Wolf (detail) https://www.joanschuman.com/hyperacousia/posts/ghost-wolf/
Joan Schuman (website) https://www.joanschuman.com/hyperacousia/

 
6) Amirhossein Zeinali - Times Three

In the composition titled “Times Three,” the numeral “3” assumes a pivotal significance. A majority of the sonic motifs, interruptions, and even surprises are linked to this numerical value, coalescing into a ternary structure. A substantial portion of the auditory elements emanates from the thematic exploration of “manuscripting” and the seamless integration of technology, thereby transitioning into the realm of mechanics imbued with the essence of computerized systems.

I am Amirhossein Zeinali (b. 2000), a composer and pianist from Iran. I hold a bachelor’s degree in music composition from the Art University of Isfahan and am currently pursuing a master’s degree in music composition at the University of Utah. Alongside my academic pursuits, I actively contributes to the field as a graduate teaching assistant, through instructing the Music Technology course at the University.
http://www.amirhosseinzeinali.com

i recently got access to an old factory space as part of a residency i was doing with Hull Artists Research Initiative https://www.hullartistresearchinitiative.com and i started to think about health and safety aspects of these places, both from my perspective and the buildings. health and safety is often confusingly driven by what capitalism can get away with as opposed to actual safety for the employees. also the building might have its own agenda, it might want to hurt people, perhaps with a view to getting a bit of peace, or it might view injury as desirable somehow, i don't know for sure, i'm not a factory building. i've worked in a few though, and i think they might get sick of people...this piece is an attempt to explore this relationship.

Artist bio:
Yol is an artist working in performance, visual art and text. Found objects, mouth noise, mangled language. Starting points are space/situation, found objects, and self generated mangled text, explored alongside experimental vocal techniques. End point is broken sounds, broken words. Everything is an instrument, or nothing is, it’s hard to tell.



Website/social links
https://yolnoise.bandcamp.com
https://www.youtube.com/user/yol1971
https://mobile.twitter.com/brighthouse5
https://www.instagram.com/haribo_voodoo_ritual/

The piece is a collage of found sound, field recordings, and electro-acoustic compositions created by me using a turntable, portable turntable that plays deconstructed and destroyed vinyl discs and an old model cellphone. I also use text, excerpts, and conversations to give the piece a sense of home in a way that is intelligible to itself through sound. I used Bela Tarr's "The Turin Horse" to reference his visual themes of vastness and distance to create a similar sonic landscape using objects, methods, and processes from within the contexts of my environment.

Artist bio:
Naledi Chai is an interdisciplinary artist and experimentalist. Her disciplines span collage, video art, sound design, film, sound and event-based sonic experiments explored through DJing. Her practice is deeply rooted in exploring the intersection of sonic expression, technology, and human experience.
She is intrigued by the politics and potential of sound to evoke emotions, challenge perceptions, and create immersive environments that transcend traditional spatial boundaries. Her sound-based sculptural works have been shown at Brixton Light Festival and Stevenson Gallery in Johannesburg. Chai lives and works in Johannesburg.

Website/social links
https://linktr.ee/lovingparents?fbclid=IwY2xjawFzieNleHRuA2FlbQIxMAABHVWrvEN3XRKUulPkf4CH8kqQoghQOukUe11llo1IiAr935XZIYlJT7Dnqw_aem_FhWqOevW5-T0kFIdHj3yOQ

https://www.instagram.com/cu_xtremes/

The piece is a collage of found sound, field recordings, and electro-acoustic compositions created by me using a turntable, portable turntable that plays deconstructed and destroyed vinyl discs and an old model cellphone. I also use text, excerpts, and conversations to give the piece a sense of home in a way that is intelligible to itself through sound. I used Bela Tarr's "The Turin Horse" to reference his visual themes of vastness and distance to create a similar sonic landscape using objects, methods, and processes from within the contexts of my environment.

Artist bio:
Naledi Chai is an interdisciplinary artist and experimentalist. Her disciplines span collage, video art, sound design, film, sound and event-based sonic experiments explored through DJing. Her practice is deeply rooted in exploring the intersection of sonic expression, technology, and human experience.
She is intrigued by the politics and potential of sound to evoke emotions, challenge perceptions, and create immersive environments that transcend traditional spatial boundaries. Her sound-based sculptural works have been shown at Brixton Light Festival and Stevenson Gallery in Johannesburg. Chai lives and works in Johannesburg.

Website/social links
https://linktr.ee/lovingparents?fbclid=IwY2xjawFzieNleHRuA2FlbQIxMAABHVWrvEN3XRKUulPkf4CH8kqQoghQOukUe11llo1IiAr935XZIYlJT7Dnqw_aem_FhWqOevW5-T0kFIdHj3yOQ

https://www.instagram.com/cu_xtremes/