Tue 15

In the beginning of Time, the great Creator Reason, made the Earth to be a Common Treasury, Amid all our familiar scenes stand memorials of the people who were here before us. In the wild magic of midsummer night’s eve, we embark on an hallucinatory journey through weed choked lay-bys where normative logic bends and succumbs to the tangential, the wayward and the transcendental. Here the ether is populated with unruly beasts and revolting peasants, an insolent jumble of noises, fragments and connections, unobserved rites, wild anarchy and the violence that haunts the spectral pastoral.
 
Includes elements of:
Battle of the BeanField 1985 (Operation Solstice) Gareth Morris, Russel Morris and Neil Goodwin
U.K Free Festivals-The 1980s, BBC Documentary
Winstanley, Kevin Brownlow, 1975
Being and Doing, Ken McMullen and Stuart Brisley, 1984
A Celebration of Midsummer, East Anglia, 1964

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

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

December Bells is an ambient work of nearly two hours, an expansion of an eight-minute kantele (Finnish zither) composition by Pauliina Syrjälä. An instructor at the Sibelius Academy in Helsinki, her piece Kirkonkellot (Church Bells) is based on a kantele recording from the early 20th century. The instrument is synonymous with Finnish identity, its creation attributed to the mythological shaman Väinämöinen, who chanted powerful spells. The densely overlapping textures of December Bells reflect this, along with the traditionally repetitive and interlocking nature of kantele performance, and similar singing styles of the Baltic region. Syrjälä’s work can be heard at https://www.youtube.com/watch?v=JKHAxW_Gp7M.

Artist bio:
Vedran Mehinovic was born in Sarajevo, Bosnia and Herzegovina. He received bachelor’s and master’s degrees in Composition from New England Conservatory, and a doctorate from UC Santa Cruz. In 2007, his piece RA was selected as one of just three orchestral works to be performed during the Gaudeamus Music Week in Amsterdam, winning Honorable Mention at the week’s end. An enthusiast of world arts, Mehinovic has organized concerts of Korean, Hindustani, Uyghur, and Chinese music. His works have been performed in Bosnia, Croatia, Switzerland, France, Portugal, Spain, the Netherlands, Japan, Korea, and the United States.

Website/social links
https://www.babelscores.com/VedranMehinovic

A bleak comedy of real life corporate dysfunction made from actual phone calls with Verizon customer service agents, including narration and on-hold muzak, creating a radio theatre experience about trying to escape corporate technological entanglements. A 21st century David and Goliath dystopian tale about a customer and a phone company. Also including the song "Cell Phone" by THIS.

Artist bio:
Sam Sebren works in installation, collage, painting, photography, video, public works and also sound-based works with ties to noise and experimental music. His radio works for Wave Farm/WGXC have been broadcast nationally and internationally on Pacifica stations and on the Radia Network. He was awarded a Wave Farm residency and produced “Re:Search” an un-documentary about the history of radio artists. Sebren has exhibited widely in galleries and universities, film festivals, non-profit spaces, and unsanctioned public interventions. He hosts the “Nothing Is Real Radio Hour” and “Everything Is Real Radio” programs on WaveFarm/WGXC.

Website/social links
Nothing Is Real Radio Hour:  https://wavefarm.org/radio/wgxc/schedule/2te0as
Everything Is Real Radio:  https://wavefarm.org/radio/wgxc/schedule/0hv018
nothingisrealvideo (YouTube channel):  https://www.youtube.com/channel/UCcjSRcDDlP8EDOHfYG9Oj7Q

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

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

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

On today’s episode of Making Waves we will be listening to “Non-predictable” by Omar Reyna. Afterwards we will talk to Omar about his piece which is included in the soon to be released 19th compilation album from The Deep Wireless Festival. Over the next four episodes of Making Waves we will be featuring artists from Deep Wireless.
 
Reyna’s work “Non-predictable” is an exploration of the sounds of turbulence in nature. Do the sounds of wind hitting trees or the tonal colours of moving water have emotions that fluctuate over time? This 45 minute long form piece is arranged in three sections that are approximately 15 minutes each and there is a radiophonic quality stemming from the associative qualities of the sounds of wind, rapids, ravens and breaking glass.

Omar Reyna is a Mexican-Canadian interdisciplinary artist. He focuses on the intersection of research and the activity of making. And believes that the process of making art while experimenting serves as a form of physical thinking. Much of his artistic practice takes place in the Boreal Forest near Whitehorse, Yukon, where he now lives and works.

https://naisa.ca/

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

An iteration of a text score composed by Debbie Armour, from a collection of works to be performed domestically.
(Originally broadcast April 2024 for MOOAR Residency, Resonance FM)

Find a quiet time. 30 - 60 mins should be enough, but be open to change
Sit on the floor together
Arrange a quiet activity for the under-5
The Singer begins to sing, something familiar
Stop each time you are interrupted by the under-5
Respond gently to each interruption, re-engage the under-5 with their activity or allow them to join in if they indicate they would like to
Recommence your song where you left off
Keep going for as long as you can

Repeat the score on a few different occasions
Notice any changes in responses from the under-5 during each iteration
Note how many songs you can complete, if any
Notice how it feels to be interrupted, for each of you

Artist bio:
I am a traditional singer and artist working with sound and performance. I am motivated by persistence, resonance, deep cultural roots and celebrating traditional materials. My practice sparks interest in shared heritage through world building, and recontextualising song, story and archetype.

Website/social links
http://www.burdellen.com
http://www.debbiearmour.substack.com
http://www.instagram.com/debbie.armour.sound
http://www.instagram.com/burdellenmusic

1 Vortichez - Want Water (3:19)
2 Shortwave Collective - Collective Listening Across Distance (13:14)
3 Ben Gaunt - 303 Flings (For Beginners) (3:03)
4 Frontera Glaciar - Fantasma Antártico Gris (Grey Antarctic Ghost) (11:30)
 
 
1) Vortichez - Want Water

The electronics in this piece are entirely those of thirsty trees, recorded with highly sensitive acoustic sensors and generously shared by physicist Alex Ponomarenko, manipulated by the composer using Trevor Wishart's CDP (Composers Desktop Project) software.
Trees under drought emit short ultrasound "clicks" whose origin is not clear, but discovered by Alex Ponomarenko to be linked to the appearance of bubbles. The short clicks have been expanded by the composer to engage more deeply with trees' slower timescale.
As we communicate with trees, their thirst can be made known to us. Scientists can use these findings to reconcile stressed trees to long periods of drought brought on by climate change.
Want Water was selected for the Art & Science Days in Bourges, diffused during the Musinfo "Tempus" multimedia concert.
For more information about Alex Ponomarenko's project: https://www.youtube.com/watch?v=uWL0EoZh09w

Vortichez is an electroacoustic project manipulating and reconstructing diverse sound sources into abstract sound worlds. Her work has been released on several independent labels, performed by the composer at the University of Birmingham's BEAST FEaST, and featured at Arts & Science Days in Bourges.
https://linktr.ee/vorticex_
instagram: @_vorticeX

 
2) Shortwave Collective - Collective Listening Across Distance

Originally a live performance, this piece shares the praxis and the thinking behind our methodology of listening across distance. Through a distributed group practice, we listen for the electromagnetic transmissions embedded within a soundscape. We combine our individual and topical experiences into a collective network of listenings. We celebrate the fragility of what is heard, the intricate buzzes and clicks alongside the voices and music, reception as determined by the atmospheric conditions of the moment, or the sound of nothing at all when things do not work or there is nothing that we can hear. It is a plurality of possibilities that we listen to, rather than an illusion of singularity where there is one way of being and one body. These processes allow us to listen to the environmental transmissions that surround us in a way that is open and accessible to all.

Shortwave Collective is an international, interdisciplinary artist group, brought together by an interest in feminist practices and the radio spectrum. We spend time together making, testing and sharing DIY 'Open Wave-Receivers', antennas, and other radio-related technologies, often reusing various components from found and everyday objects. We use radio-listening to reflect together on the situatedness and the material and cultural ecologies at stake in signal transmitting and receiving. Shortwave Collective are: Alyssa Moxley, Brigitte Hart, Georgia Leigh-Münster, Hannah Kemp-Welch, Karen Werner, Kate Donovan, Lisa Hall, Maria Papadomanolaki, Meira Asher, Sasha Engelmann and Sally Applin.
 https://www.shortwavecollective.net/
Instagram: @shortwavecollective
Twitter: @SWaveCollective
https://mstdn.social/@ShortwaveCollective

 
3) Ben Gaunt - 303 Flings (For Beginners)

As part of mjf hothouse 2023/24 Ben Cottrell participated in a number of 'flings'; short-lived collaborations with various musicians of different disciplines/genres. I was very excited when Ben asked me to work on a fling with him.

We both work at Leeds Conservatoire; one afternoon we set up some microphones in practice room 303, and made sounds with everything we could find. Plant pots, chairs, windows, bins... we recorded everything except for the musical instruments, which were left untouched.

This is my fling, and it is a piece about how I hated practising scales and arpeggios when I was a student. In writing the piece, the number 303 became important; it is 3:03 long and 303 beats per minute. If you listen to it 303 times, I will be very happy!

Using the same recordings, Ben has made his own fling.

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

 
4) Frontera Glaciar - Fantasma Antártico Gris (Grey Antarctic Ghost)

Antarctic Gray Ghost (2025) It is a radio project in which sound experimentation is carried out based on recent scientific studies of Antarctica. At the end of 2023, studies were presented related to the Antarctic cod, a large specimen that lives on the white continent and that can bring answers related to climate change and timely help to the sub-Antarctic ecosystem. Frontera Glaciar that lives in Patagonia, gateway to Antarctica, builds, through sounds, screams, voices and marine spaces of the south, a mini international symposium in which three Latin American scientists (Chile, Brazil and Argentina) participate, alerting us about the importance of their studies and the danger that can occur if timely protection is not provided. In this journey of sounds, the Antarctic cod itself is present.

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

5 Marc Perez - Hubs (Ft. People) – (4:26)
6 Julia Griner - Dorica Castra – (4:20)
7 Pete Cox - Blast Dunes/Beach (Leezie Lindsay) (10:44)
8 Tess Davidson - Shifting Shadows (3:58)
9 andre birken - 31 monstrous demonstrations -  REGENSCHAUKEL (+MYAMAN) (1:24)
 
 
5) Marc Perez - Hubs (Ft. People)

This is a track made up of various field recordings that took place during early 2023, across 3 different airports in 3 different states within the U.S.
The story created here from these field recordings is one of autonomy amongst various ecosystems of humans, and stories. We have immense identity, yet none all in the same. I hope the world created here brings forth a sense of unity rather than unease, and allows the listener to feel more connected to those they have never met. We are not isolated. We are just waiting for the time, means, and moment to connect to someone new.

Trombone Player, Composer, Improviser, Artist & Author Marc Perez utilizes his unique understanding and approach to improvisation in a broad range of interdisciplinary practices. His approach to sound, music perception & non traditional notation is quickly making Marc a sought-after collaborator and making his work quickly known.

Marc is part of the experimental jazz duo “Frog n’ Toad”, makes electronic music under “Chilaquiles”, makes video game music under “mapmusiq” & leads the exciting and experimental large ensemble, “The Tapestry”.
https://www.marcperezmusic.com
https://www.instagram.com/mapmusiq

 
6) Julia Griner - Dorica Castra

Dorica castra, named after the Latin doubling process of chain rhyme, is a radio attempt at sound concatenation.Orchestrating a discussion between songs and archives, I feed an exquisite corpse narrating the story of a lifejacket while resonating with my artistic influences. Listen closely as the life vest floats away from your overturned ears. An imaginary journey made up of detours through the worlds of leeks, whistles and snow without ever really straying from your life vest, this radiophonic concatenation was designed to buoy up anyone who fell into boredom.

A graduate of the Sound Design master's degree from Esad TALM, in partnership with Ircam (Institute for Acoustic/Music Research and Coordination), Julia Griner is a musician and sound artist. She is interested in questions of gender in her sound manifestations, the title of her master thesis.
Diversion, collage, shift, obsolete technologies, Bach, aliens, ghosts and the sonification of data are at the heart of her practice.
In parallel with her wanderings towards sound material, Julia Griner pursues sound design activities for museum institutions.
https://juliagriner.com

 
7) Pete Cox - Blast Dunes/Beach (Leezie Lindsay)

‘Excerpts from the Ardeer Peninsula’ is a series of three soundscapes each focusing on a specific area of the Ardeer Peninsula which is located in North Ayrshire between Irvine and Stevenston. It was formerly the site of the Nobel Munitions factory and was one of the area’s largest employers with over 13,000 employees. Since closing in the 1990’s, the site has fallen into a state of industrial disrepair with many derelict buildings remaining, whilst the wildlife on the peninsula has flourished and is now the largest brownland regeneration site in Scotland.
This piece focuses on the adjacent beach, where reverberant concrete tunnels reach out into the sea, with the sounds of waves and wind rushing through them.
The pieces were constructed as recordings made in real time of improvisations using field recordings and guitar, processed and recorded through the Max package ‘Ppooll’.

Pete Cox is a Glasgow based sound artist and composer. His work spans field recording, improvisation and sound design practices with a focus on sonic spacial practice. Often using field recordings taken from places that have a personal, familial or environmental significance as a starting point, he explores how the sense of space can be expanded and abstracted though digital processing, looping, and improvised instrumental responses, and how these elements allow exploration into what is present, implied and absent from the spaces, and how this effects the experience of being there.
https://petecoxsound.hotglue.me/?start

 
8) Tess Davidson - Shifting Shadows

This is a soundscape that explores the ways in which doorways are a portal between the anonymity of harsh urban environments and private sanctuaries — and how they contain multitudes, from the claustrophobia and isolation a city brings, to the expansive, joyful potential of welcoming your community.

Tess Davidson is an audio producer and writer from the north of Ireland currently based in London. She has produced for organisations such as the Tate Britain and the Serpentine, as well for BBC Radio 3, BBC Radio 4 and RTÉ in Ireland. She won bronze for Best New Producer in the UK’s Audio Production Awards 2023 and is currently developing her first play with Soho Theatre, London.
Instagram - @tessie_davidson
Twitter/X - tess_davidson
 
 
9) andre birken - 31 monstrous demonstrations -  REGENSCHAUKEL (+MYAMAN)

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

Walking through a bog is like stepping into another world, where the familiar rules of the land no longer apply. Your first step feels strange - the ground moves beneath you, soft and uncertain.

During their residency in West Cork (Ireland) the artists Yulia Carolin Kothe, Katerina Sidorova and Max Brück worked on a growing archive of personal, historical and mythical stories about the bog shared by locals: The performance interview ‘Sfag’ + ‘nuhm ' made for ‘How to navigate a bog?’ by visual artist and psychotherapist Deirdre Johanna Humphrys, outtakes from a pub poetry and music event dedicated to bogs and secrets with locals from Schull and a soundscape by Yulia Carolin Kothe.

This work is an invitation to navigate the bog through a collection of stories that the landscape preserves. It is an invitation to listen and a welcome to getting lost.

Mastering: Antonia Alessia Virginia Beeskow

Artist bio:
Yulia Carolin Kothe is a visual artist based between Glasgow and Frankfurt am Main. Her practice moves between sculpture, sound, writing and performance, often drawing on collaborative forms of working.

Katerina Sidorova is a visual artist and reseacher based in The Hague. Working with installation, performance, and text, she looks at multiple facets of mortality and necropolitics in her practice.

Max Brück is a visual artist focused on sculpture and memory. His work explores personal and collective memory through objects and spaces, challenging territorial boundaries.

Website/social links
https://www.instagram.com/yulia.ko_/
https://www.instagram.com/katerina_sidorova_news/
https://www.instagram.com/maxbrueck/

The body of culture we were born into lost all its limbs, and since then we are repeatedly reminded that such a body never really existed. The places where we spent our childhood were contaminated with borders and harsh memories of war. Our original cultural identity is undesired, we are encouraged to redefine ourselves and identify with the necropolitics of new nationalisms. The country crumbled into bits, many lost their loved ones and their homes, the land was intoxicated and the death count never ceased. The Yugoslavian culture was proclaimed extinct. Strangely, we can still feel it deep inside us, it consists of many textures of belonging. “Rituals in Transfigured Time” is made of field recordings from across Yugoslavia, from pristine nature to intoxicated lands and waters, from memorial sites to abandoned factories; analog instruments, radio appropriations; found sounds, voices long gone and forgotten.
 
Finalist of Palma Ars Acustica 2024.

Artist bio:
Manja Ristić & Marko Paunović have been creating together since 2014. They strive to build unique immersive experiences with their work, using a synthesis of field recording, instrumental improvisation, tape loops & various analogue instruments, found sounds, and ambient music. In their performances they often surprise with a bio-political element, reflecting on the conceptual heritage of 20th-century installation and performance art.

Website/social links
https://manjaristic.blogspot.com/
https://markopaunovic.bandcamp.com/

Discovered a decade ago in the Oxfordshire woods, an abandoned car, lacking any discernible documentation, became a conduit for personal experiences related to stories, loss, and memories—real or imagined; an Overwhelming fear and anxiety of losing one's memories. This sound-piece is a mileometer of recollections, interwoven narratives, featuring artist Loreal Prystaj voicing the artist's writings, filling in the gaps and redactions with her own experiences. Exploring a 'hyper-memory', decay, and the fear of losing one's identity, it inverts time, as dementia creates new spaces and erases old ones. (Self-)redacted fictions recall fantasised, half-forgotten, distinct yet inconsequential memories. The human limitations of encoding, storage, and retrieval disrupt spatio-temporal recollections. Briefly halted, the Datsun 'uncar' returns to a state of decay. Nowhere to elsewhere and back again. Loreal's work delves into themes of alchemy, exploring the cycles of life, death, and rebirth within the realms of consciousness Artist bio: Martyn Riley is an artist whose collaborative spirit defines his solo practice, and rather than focusing on theory or practice, he embraces playfulness and the depth of others. Based in London, Martyn explores themes of memory, decay, and found objects; often incorporating sound. His practice is a dynamic interplay and internal battle of mixed-specialisms: tapes, samples, found sounds, sculpture, words, and photography.  A unifying element is the power of storytelling, evoking memories and experiences—both real and imagined. Loreal Prystaj’s work delves into themes of alchemy, exploring the cycles of life, death, and rebirth within the realms of consciousness. Website/social links https://martynriley.co.uk/ https://www.instagram.com/martyn_riley_sound/

The radio piece consists of two components, weaved together by a common thematic strand of migration, de-territorialisation, nature, and the lived environment. It starts with a performative reading from the artist’s recent book The Nomadic Listener - an augmented book on migration, contemporary urban experience, and sonic alienation. The book is composed of a series of texts stemming from psychogeographic explorations of major contemporary cities through situated writing and field recording.

Each text is an act of contemplative listening, where the author records his surrounding environment and attempts to attune to the sonic fluctuations of movement and the passing of events. What surfaces is a collection of meditations on the minutiae of life movingly interwoven with the author’s own memories, associations, desires and reflections. The performative reading draws up a tender map of contemporary urban experience, and the often lonely, surprising, and random interactions found in the quotidian. The radio piece ends with a sketch from Towards an Amicable End, a new work in progress. It is composed of field recordings of climate variables, radio interference translating environmental phenomena, and musical instruments in free improvisation, investigating human estrangement from nature and lived environment.

https://budhaditya.org/

1) Johnny Dixon - Daily Bread  1 (2:24)
2) iT - Irena Tomažin - outro- give up your crying game (10:44)
3) Jessica Syposz- The Buzzer (8:54)

 
1) Johnny Dixon - Daily Bread  1
 
Using small white single-use plastic items from everyday foodstuffs visual scores have been created on a black background. A vocal sound palette is suggested and in the six five minute sound pieces used for four voices to render the plastic pieces as imagined fragments of letters of the Roman alphabet. The scores can be viewed and listeners are invited to soundalong with the pieces by using the palette and following some basic suggested instructions - or by using their own sounds. The scores and the palette can be read here https://daily-bread-rp2025.blogspot.com/2025/02/?m=1

Artist bio:
Johnny Dixon is Irish and lives in London.


2) iT - Irena Tomažin - outro- give up your crying game
From the album Crying Games.
 
 
3) Jessica Syposz- The Buzzer


Lena can't stop listening. Her favourite radio station only transmits a single, eerie buzzing noise. The sound gets under her skin. It makes her feel safe, especially on lonely nights in her room while her menacing landlord prowls around the house. The more this vulnerable young woman listens to this radio station, the easier it is to forget the world around her, or to feel like it's even real at all. A monologue which culminates in an unearthly radiophonic soundscape, 'The Buzzer' is a journey into obsession and our desire to be part of something bigger than ourselves. Written by Jessica Syposz, starring Radhika Aggarwal, with sound design by Paul Dodgson. The radio station Lena listens to is a fictionalised version of the real UBV-76 frequency or ‘Buzzer,’ a short-wave radio station which has been transmitting an unexplained buzzing since 1983.

Artist bio:
I am a writer from Birmingham, UK, working across prose, audio and theatre. I often layer my work on top of soundscapes drawn from field recordings and the crackle and hum of old analogue tech. My audio play ‘The Buzzer’ was featured at the 2023 UK International Radio Drama Festival. I am the fiction editor at interdisciplinary arts magazine, Porridge. My ten-minute monologue for stage, ‘Caterpillars’, was performed at The Old Rep Theatre, Birmingham in April 2024 as part of their Write Away Scratch Night, where it won the audience vote for best piece.

Website/social links
https://jessicasyposz.co.uk/

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

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

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

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

Field recordings, interviews, legends, poems, an astral map of the island, underwater sounds and vibrant surfaces are mixed with musical elements to compose Entremarés, a sound piece to be heard at sea, more specifically in the pedal boats of José Bonifácio Beach, on Paquetá Island, in Rio de Janeiro, Brazil.
Piece commissioned by the Novas Frequências Festival, 2021.

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

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

This audiopaper is about a concept I developed called Overflowing Lines, and from it, I begin to think about the human relationship with nature from the perspective of art and my indigenous origin, as well as the indigenous cosmoviews of Brazil, my country. I have been developing sonic pieces that draw such relationships: human and trans-humans forms of interactions and the disposition of my own body and voice to activate them and be a channel for transmitting nature-devenirs, in dialog with the concept of Deleuze and Guattari.

Artist bio:
I am sound and visual composer, weaver - I make hand-knit pieces - and experimental artist. ​
I compose sonic/sound and visual books, sonic and visual tales, stories and imaginations; I research the practice of experimental cinema and the survival of images, their presence, appearances, persistence, their generational transmissions, their movement in the fabric of time-space and beyond. ​
I was born and raised in Jequié-Maracás, in Bahia. My family comes from the countryside region of the city Maracás, with Kiriri-Tupinambá peoples origin. I currently live and work in São Paulo Capital City and I'm studying Fine Arts at USP-University

Website/social links
https://www.tassiamila.com/
https://www.instagram.com/tassia_mila/
https://soundcloud.com/gatopretopulando

A basic binaural mix compiled from six one-hour recordings made over a period of three years. Each was recorded in the communal area before, during and shortly after the evening meal at either the Maighelshütte in the Swiss Graubünden or the Wiesbadener Hütte in the Austrian Silvretta. In each case, people of many nationalities come together to share the evening meal and swap stories about their mountain experiences.

Artist bio:
UpperHurst is the working name of Sheffield-based musician, sound artist and documentary-maker Peter Brooks. He works using conventional musical instruments, synthesisers and other electronic instruments, field recordings and other found sounds.

Website/social links
https://www.mixcloud.com/UpperHurst/
https://soundcloud.com/user-901965358
https://upperhurst.bandcamp.com

1) Selma Augestad and Sam Ofili - GOOD ENOUGH (2:43)
2) Boyi Bai - Exploring Slience – Japan (11:49)
3) Daniel De Togni - A room so all alive (7:31)
4) Timo Kahlen - Resilience. Against All Odds (2:54)
5) Craig Gell - Flag Fen (1:11)
 
 
1) Selma Augestad and Sam Ofili - GOOD ENOUGH

GOOD ENOUGH is a collaboration between artists Selma Augestad and Sam Ofili. With thanks to Lea for lending her voice.
GOOD ENOUGH is a confessional script read in two voices, two languages becoming a conversation between past and present. GOOD ENOUGH is a trial and an offering, a bid for acceptance and a final test of love.
The script to GOOD ENOUGH was first exhibited by Selma as bleach and coffee stained linen, in COMFORT ME - exhibition in South Block Glasgow, September 2024. It was reimagined as an audio work by Sam and Selma in October 2024.
COMFORT ME reflects on undesirable expressions of emotions testing the conditionality of love. COMFORT ME is both a provocation and a plea. A dare - to love, when it is inconvenient, ugly and dark. If it’s easy, it means nothing.

Selma Augestad is a Norwegian visual artist based in Scotland. Through a practice of untangling and interpreting personal memories, Selma explores wider social themes with influence from mythology and rituals, as sites of connection, struggle and liberation.

Sam Ofili is a Glasgow based DJ. She is inspired by the use of sound and movement to connect with and uncover emotions.
 
https://www.selmaaugestad.com/
@solskinnskroken


2) Boyi Bai - Exploring Slience – Japan

In Japan, amidst bustling environments, you can hear delightful bird songs that offer brief moments of auditory respite, momentarily alleviating the weariness of travel. Despite their surroundings' cacophony, these sounds retain a pristine purity. Their most captivating essence emerges when they persist unadulterated by noise, bravely standing against the tumultuous world. "Exploring Silence - JAPAN" harmoniously blends ambient music and evocative soundscapes. Continuous drone and background sounds act as a cohesive frame, enveloping these captivating soundscapes and . inviting the audience to step into Japan's auditory world and experience the adventure of silence.

Boyi Bai is a composer, sound artist, sound mixer, and soundscape researcher fascinated by the blend of technology and sound. He enjoys exploring the harmony between virtual reality and sound, creating immersive experiences. Currently pursuing his Ph.D. in Soundscapes Research at the University of Sheffield under the esteemed guidance of Professor Adrian Moore, Boyi continues to explore the intricate relationship between sound, environment, and musical composition. His exceptional talent, academic prowess, and extensive professional experience make him an outstanding figure in the fields of music production, soundscape research, and artistic expression.
https://soundcloud.com/zion-bai

 
3) Daniel De Togni - A room so all alive

The creative nexus of this project was through recording the poetry of visual artist Rayne Cottrell. Her stream-of-consciousness, yet vulnerable style of delivery and narration is the very center of this recording. The music and sonification surrounding the poetry is made up of two distinct soundworlds. The first of these soundworlds is contained in the first half of the piece, where bass clarinet and clarinet sounds are edited to sound like an organ. The second soundworld, second half of piece, is where the poetry opens up in vulnerability and a post-rock, lo-fi, ambient landscape underlies the text.

As a composer and artist who primarily works with sound, Daniel is fascinated with the concept of space in sound/music. The psychological space that music inhabits in our minds as listeners, performers and/or creators, how sonic objects interact with each other in real-time and space, as well how a sound can evoke an image or landscape in our minds. It is truly astonishing how music can act as a catalyst between memory and real-time, how by listening to a piece of music, or hearing a sound, a world/memory (that perhaps no longer exists) from many years ago can be recalled.
https://www.danieldetogni.com/


4) Timo Kahlen - Resilience. Against All Odds

Timo Kahlen's „Resilience. Against All Odds“, 2024 creates an ambivalent and disquieting acoustic metaphor - drawing the fine line between resilience, deescalation and aggression. The audio miniature is based on growls and purrs.

Sound sculptor and media artist Timo Kahlen (* 1966 in Berlin) chooses to work with wind and steam, with light and shade, with pixels and dust, with sound, noise and vibration. His intermedia work has been presented in 250 solo and group exhibitions of contemporary media art since the mid-1980s: including „FluxusMuseum Prize for Experimental Video" (Greece 2024), „Passages“ (Frankfurt 2022), „Back into the Future of Photography“ (Frankfurt 2016), „Sound Art: Sound as a Medium of Art“ (ZKM Karlsruhe 2012), „MANIFESTA 7: Scenarios“ (Italy 2008), and his solo exhibition “Timo Kahlen: Works with Wind“, inaugurating the KUNST-WERKE Berlin in 1991.
http://www.timo-kahlen.de

 
5) Craig Gell - Flag Fen

‘Flag Fen’ is a stereo recording made inside the preservation hall at Flag Fen Archaeology Park near Peterborough, where a section of an excavated Bronze Age causeway, discovered by Francis Pryor in 1982, is kept constantly wet using an elaborate sprinkler system.

Craig Gell is an artist and composer from Bournemouth.
He has created multimedia installations, interactive apps and electroacoustic compositions largely informed by nature and the natural landscape - recording impulse responses in quarries (Lithoscapes), programming sonifications of live sea wave data (Wave Machine). Craig is also an experienced musician and composer of more conventional music, including for a number of short animated films.
craiggellmusic.com
soundcloud.com/craiggell

6) Kim Walker - I Don't Need the Sound of the Radio (5:45)
7) Berenice Llorens - Lejos del monte.(4:30)
8) Mansoor Hosseini - I Am Not A Poet & I Am Really Not A Poet (8:25)
9) lane/louise - would be a lovely night (12:51)    

6) Kim Walker - I Don't Need the Sound of the Radio  
 
This sound work is the combined outcome of a series community workshops exploring sound art, sound walks, contemporary sonic art practice, concepts of Deep Listening and the composition of a soundwalk for Hospitalfield’s Physic Garden. I Don’t Need the Sound of the Radio was inspired by participants experiences within the garden and exploring the garden together. The idea of connecting to the ‘traces’ of the past through contemporary practice, and creating a new rendering informed by personal histories, old and new. Participants input, opinion and experiences were key to how the artwork developed, as they shared their stories and worked with Kim, with personal experiences becoming integral to the final composition. You can listen to this artwork when you visit Hospitalfield's Physic garden by scanning the available QR code.
I Don't Need the Sound of the Radio is commissioned by Hospitalfield and THAT (Tayside Healthcare Arts Trust).  

Kim Walker is a Scottish artist working with sound, video, installation, and performance. Her work was nominated for the 2011 Claire Rosen & Samuel Edes Prize for Emerging Artists at School of the Art Institute of Chicago, longlisted for the 2018 Ivan Juritz Prize, and she was a finalist in the 2020 Mother Art Prize curated by Procreate Projects. She has extensive experience delivering creative, informal learning projects for individuals, community groups and schools across Tayside. Recent projects include Wild Escapes Eco School; ARTIST ROOMS: Young People’s Projects; The People’s Story; Reconnect; and Sounds and Stories with THAT and Hospitalfield.
https://www.kimwalkerart.co.uk/I-Don-t-Need-the-Sound-of-the-Radio-2023  

7) Berenice Llorens - Lejos del monte.  
 
"Lejos del monte" is an artificial soundscape created from sounds and field recordings of the native forest of Córdoba, Argentina. The piece explores the interaction between the natural environment and technology: the forest is recorded, reinterpreted, and imitated through processes involving prepared electric guitar, processes and digital synthesis. Through improvisation and composition, the forest sounds—endangered and at risk of extinction—gradually transform into an artificial imitation, reflecting the disappearance of these ecosystems due to wildfires caused by the climate crisis and the extractivist policies of capitalist governments in Latin America.  

Berenice Llorens is a composer, guitarist, and experimental artist, born in Córdoba, Argentina, based in Berlin. In her practice, Llorens records and reinterprets sounds from nature, the city, and machines, creating evolving sonic ecosystems—an exercise of bringing the outside in and the inside out—provoking deep reflection on our relationship with the environment we inhabit. Llorens works are a mixture of performances, compositions, radio, audiovisual works, drawings, writings, and collaborations in dance and theatre.  She produces the Beyond of_line radio show on Refuge Worldwide, and she researches in AI, computer music and sound.
https://berenicellorens.com
https://berenicellorens.bandcamp.com/
https://www.instagram.com/berenicellorens    

8) Mansoor Hosseini - I Am Not A Poet & I Am Really Not A Poet  
 
An experimental work, a speaker's voice being cut, not allowing the word or sentence to be completed. Uncertainty makes the speaker retake her speech only to doubt again yet not giving up to express herself.  

Mansoor Hosseini is a Swedish sound artist, composer, script writer and film maker. He has studied composition at Conservatories in Paris, Brussels and Gothenburg. Later studying scriptwriting and film music at Gothenburg University. Mansoor’s research and studies with the composer Georges Aperghis encouraged him to compose for theatrical music, inspired by martial arts, contemporary dance and theater. Mansoor has collaborated with dancers, film makers, poets, video artists, ensembles and theater productions.
https://www.musicalmo.com/
https://www.youtube.com/watch?v=rsKgs__fKVU
https://www.youtube.com/@GothenburgMusic
https://www.youtube.com/@mmamusicmanagement3836
https://themusensemble.com/  

9) lane/louise - would be a lovely night  
 
This track, "would be a lovely night," is inspired by the ingrained sometimes fearful nostalgia that exists within the experience of listening to old radio plays, long lost voices forever communicating.  

LANE/LOUISE is a duo based in Tkaronto/Toronto, Canada/Turtle Island consisting of amateur musician and group drone collaborator, CORINNE (she/her) and her partner, artist and musician CHRIS (he/him) who also performs as iderdown, a one person electronic, ambient, experimental act, and who forms one third of the band WITHIN.  
soundcloud: https://soundcloud.com/yrlittlecore website:
https://www.iderdown.com/ instagram:
https://www.instagram.com/iderdown13

This live performance will present a number of new works that have been composed and developed over the last few months. All pieces are based on patches in Max/MSP that share data through a Wifi network. Each of the performers has access to this data and is able to transform and manipulate the flow of data through the network.

For some pieces MIDI data such as note pitches and durations are shared, for some works triggers are distributed throughout the network, producing emergent behavior that is different each time the piece is performed.

Artist bio:
Network Music Glasgow is a computer music group with currently three core members, Neil Quigley, Rachel Ní Chuinn and Simon Weins. We work with audio-visual programming languages to collaborate, compose and perform music in real-time through Wifi networks.

Website/social links
https://soundcloud.com/network-music-glasgow

“Mark Vernon revisits the life and work spaces of an isolated and meditative Morandi, making the debris of everyday life reverberate through spectral soundscapes and eerie tones: an exercise in modern hauntology.”  

‘Saturnine Orbit’ is a radio work made for the Casa Museo Giorgio Morandi and in the spaces of the Campiaro barns (a favourite subject of the Bolognese painter during his holiday periods in the Bolognese Apennines in Grizzana Morandi). Produced as part of the ART CITY Bologna 2024 festival in association with XING, MAMbo Museo d’Arte Moderna di Bologna and NEU Radio.  

The piece was composed entirely from the sounds of Morandi’s summer house, his studio, replicas of the objects used in his still lifes and sounds recorded on the mountain trails he would often walk, starting behind the Casa Morandi.  

Alongside field recordings collected on site during a production residency, Vernon employed Morandi’s objects as sound instruments, using the negative space of bottles, pots, jugs and vases from the Casa Morandi studio as small resonant chambers, while the environmental field recordings of the surrounding countryside were played from inside these objects using tiny speakers amplified by microphones. Through this process the outside becomes the inside: the world in a bottle. The piece also features excerpts from the only extant recording of the Bolognese artist’s voice.

Artist bio:
Mark Vernon is a sound artist and radio producer whose work explores ideas of audio archaeology, magnetic memory and the re-appropriation of found sounds. He runs and co-curates the Glasgow art radio station and festival, Radiophrenia.

http://meagreresource.com

Field recordings from Brazil's Atlantic Forest

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


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

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

Remember the app BeReal? Users took and posted ‘real’ selfies of themselves at a random time of the day, every day, determined by when the app’s notification went off. Its popularity may have waned but its attempt to capture the ‘real’ moments in people’s lives - no pre-planned posing, no filters, no warning, was a refreshing alternative to hyper stylised instagram content.

I decided to use BeReal’s daily prompt as an approach to field recording, recording at least 30 seconds of whatever can be heard around me when the notification pinged. By March 2025 I’ll have 6 months worth of daily recordings to play in sequence. This subverts my usual field recording process of choosing interesting, shinier sounds to capture, instead documenting daily, often mundane snippets of a life.

Artist bio:
Clarry M is a Glasgow based DJ and sound artist hosting regular radio shows on Subcity radio, Clyde Built radio and on a monthly Radio Buena Vida residency. She often uses field recordings as a source material for sonic experimentation.

Website/social links
https://buenavida.co.uk/dj-amtrak/
https://soundcloud.com/clarrym

iT - Irena Tomažin - nekaj v tebi (5:16)
From the album 'Crying Games'.

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

Terms of Addition is a radio play for strings (violin and viola), voices, and electronics. It is loosely based on a Ray Bradbury short story (Tomorrow's Child). Co-composed and adapted by Bevin Kelley and Michael Kelley. Michel Kelley plays viola and voice, Elise Kuder plays violin and voice, Hollis Mickey narrates, and Bevin Kelley has a small cameo as a party-goer. We have performed this radio play live several times.

Artist bio:
Bevin Kelley is an electronic music maker, composer, and performer. She plays and records as Blevin Blechdom and is half of the duo Blectum from Blechdom, with Kristin Galvin. Michael Kelley is a composer and violist, and records electronically as Kelley Polar. Elise Kuder is a violinist of much renown and a willing vocal participant. Hollis Mickey is an artist, actress, cook, and musician, and she contributes her vocal prowess. All together we exist under the umbrella of The Traveling Bubble Ensemble.

Website/social links
https://vimeo.com/150075780 (live performance)
https://www.facebook.com/blevin.blectum

This programme asks us to listen with the Channelsea River, a recovering waterway in East London, and home to London’s largest combined sewage outfall, historically discharging 16,000 million tonnes of raw sewage annually into the river.

These discharges have largely stopped since the connection of the Lee tunnel in 2016, enabling the river to begin restoring itself, but it now faces a renewed assault as the new £4.5 billion ‘Tideway Tunnel’ is connected in the coming months. This massive infrastructure project will improve pollution events to London’s inner city rivers, but at great cost and against other more sustainable, lower impact options.

The voice and field recordings bring us into contact with a slippery journey through underground pipes old and new, precarious river living, court battles, hope and uncertainty.

This sound piece is part of an ongoing series of site specific actions with the river, enacted by artist duo Blanc Sceol (Stephen Shiell & Hannah White) since, and in connection with, their part in the establishment of moorings and conservation cooperative ‘Surge Coop’ in 2018.

Surge Cooperative is a collaborative effort to benevolently occupy the Channelsea river in London, as a place for people to live on the water, and a way to acknowledge the living systems that are already present. Our research as artists within and without this cooperative seeks to live with, listen with and act with this vital living system, finding new ways to tackle problems of neglect and misuse whilst navigating ancient acts of parliament and institutional backwaters to advocate on behalf of this waterway.
 
Throughout this practice, listening with, live streaming and recording the sounds of the river has fed our actions and activities, becoming a sustaining stream that encourages us to flow as a river, attempting to connect bodies and organisations across geographical, social and political boundaries. Over our time with the river we’ve created a series of local engagement activities, proposing common actions with those connected to the river or local to the area, and encouraging collective efforts to listen with and celebrate its rich natural heritage.

—

We are Blanc Sceol, an artist duo whose work has emerged & expanded, throughout our years of working together, to encompass performance, improvisation, composition, participatory actions, deep listening facilitation, somatic & ritual gatherings.

Since 2018 we have been working site specifically with Channelsea River in London. Our regular practices with river are invitations to ourselves and others to gather, listen, observe and learn through a variety of containers, from workshops to walks, to reading groups, deep listening, live transmissions and collaborations. Through each of these actions our attempts to understand and support river grow and change as we uncover more about the forces at work, both within and without.

http://www.blancsceol.co.uk
http://www.surge.coop
Instagram: @blancsceol

This is the seventh in the series of field recordings pieces from the field recordist and sound artist Toni Dimitrov dedicated to a city. After the field recordings from Athens, Milan, Ioannina, Belgrade, Bucharest and Berlin, this time the sound sketches were recorded in Graz, during his stay in the city while participating at Interpenetration festival at Club Wakuum in autumn of 2024. In the piece you can hear recordings from Graz streets, parks, galleries, the noise from public transport, fountains, interweaving subtly, blurring the line between field recording and sound art. Concept, field recordings, editing and directed by Toni Dimitrov File under: field recordings, soundscape, sound documentary Artist Bio: Toni Dimitrov is a multimedia artist, cultural producer, radio host, organizer, curator, label owner, mountain climber and nature lover, living in Macedonia. He connects all those with the love for music, sound art and field recordings. Have been curving his way into the new experimental music/sound art scene with his solo engagement, collaborative releases, radio art and art installations. Working in the field of sound art and experimenting with electronic music and radio for more than 20 years. Have released under several monikers, bands and collaborations, having countless albums and eps on diverse labels around the world and performed on many events and participated at several residencies. His radio programs are broadcasted on the music radio Kanal 103 and are dedicated to contemporary electronic music, ambient, soundscape and political discourse. The artistic career involves art installations, sound and sound installations, drawings, video, photography, exhibiting on various exhibitions locally and abroad. His last participation was at the historical sound art exhibition “Audiosphere Sound Experimentation 1980–2020” at Museo Reina Sofia Madrid, curated by Francisco Lopez. He is curating the labels post global recordings and élan vital recordings. The recent professional engagements were on projects related to political analysis of media. At the moment he is director of Cultural Informartion Center – Skopje. Website: elanvital.bandcamp.com post-global.com

From synchronicity to asynchronicity, affect to effect. In movement and stillness. Through somatic practices, we initiated a circular form of being together in space, sharing stories in non-linear ways. As a result, an ever-moving chain of sonic and written matter was assembled, creating a mode of sharing agencies and stories from sender to receiver; from receiver to receiver. Departing from the title “Storytelling: Who owns the narrative?” as the premise of our second confluence within the sessions of Assembling Land: Rehearsals Towards Place-making, this episode invites listeners to attend our chain of correspondences and letter-making, as reflections of personal and worldly perspectives—gestures of staying together. The podcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves by listening to the varied and polyrhythmic offerings from the people and places we encounter. In this process of place-making, we explore our practices and transmit through the broadcasting platform and extended community of Radio Alhara. Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five podcasts will share the harvest of each iteration with attuned overarching themes as departure points. After our first confluence in Nida (Lithuania), this second episode was initiated in March 2024 at PAF Performing Art Forum in France, during Confluence 2: Storytelling: Who owns the narrative?. Dutch Art Institute (DAI) is a nomadic accredited MA program landing in various locations and for seven times (confluences) per academic year with the student body and crew. The study groups, which last the full academic year, are one of the pillars of its program and are carefully composed of and conducted by collaborations with an art institution, in this case de Appel in Amsterdam. Listen through @radioalhara AR: راديو تجميع الأرض الحلقة 2 من يملك السرد؟ من التزامن الى عدم التزامن,   من التأثير إلى النتيجة في حركة و سكون من خلال حركات جسدية بترتيب دائري تشاركنا المكان نتبادل القصص بغير تسلسل وبالنتيجة سلسلة مستمرة من الأصوات والمحتوى المكتوب تم تجميعها لنخلق نهج تعاوني نتبادل القدرات والقصص من المرسل إلى المتلقي و ايضا من المتلقي إلى المتلقي بالانتقال من العنوان "سرد القصص" من يملك السرد؟ كما الفرضية من التقائنا الثاني ضمن جلساتنا " تجميع الأرض: بروفات لصنع المكان", تدعو هذه الحلقة المستمعين لحضور سلسلة مراسلاتنا اتصالاتنا انعكاسات لوجهات النظر الشخصية والدنيوية لضمان وحدتنا و بقائنا البرامج الصوتية تشكلت على هيئة فصول لتتوافق بين الزملاء مع موضوعات التعلم حول الأرض و الإسكان و المؤسسات في كل مرة نسعى لطرق لاستجواب أنفسنا من خلال الاستماع الى العروض والمتعددة الإيقاعات من الاشخاص و الاماكن التي نواجهها في عملية صنع المكان هذه, نستكشف ممارساتنا ونرسل عبر منصة البث والمجتمع الموسع لراديو الحارة  تجميع الأرض: بروفات لصنع المكان"  هي مجموعة دراسة COOP التابعة ل de Appel في أكاديمية DAI المتنقلة تحدث على مدار 2024 من خلال اللقاءات الشهرية للمجموعة خمسة ملفات صوتية يشارك حصاد لكل تكرار مع موضوعات شاملة و متناغمة كنقطة بداية بعد اجتماعنا الأول في نيدا (ليتوانيا) بدأت الحلقة الثانية في آذار من هذه السنة، في Paf Performing Art Forum في فرنسا وأثناء التقائنا الثاني: رواية القصص. من يملك السرد؟ مؤسسة الفنون الهولندية (DAI) هو ماجستير متنقل معتمد ينزل في مواقع مختلفة سبع مرات على مدار السنة مع الهيئة التدريسية والطلابية تعدّ مجموعات الدراسة و التي تستمر للعام الدّراسي بأكمله أحد ركائز برنامجها و يتمّ تشكيلها بعناية و تدار بالتعاون مع مؤسسة فنية، في هذه الحالة de Appel في أمستردام.

1) Jakov Munižaba & Marija Stojnic - Shrub acoustica (8:00)
2) Cat Hawthorn - Out of Order (14:17)
3) Eduardo Espinosa - sounds from the south (3:36)
 
 
1) Jakov Munižaba & Marija Stojnic - Shrub acoustica

Shrub acoustica, is a radio play that reinterprets the soundscape of the Botanical Garden “Jevremovac” in Belgrade, and creates a sonic symbiosis between its inhabitants—plants, animals, humans, machines. Delving deep into the inaudible parts of the spectrum, where bats reside and perhaps other yet-to-be-discovered beings, the work invites the listener to merge their perception with the mediated stimuli of the garden and open a new playful space within themselves.
Composed from recordings made in the garden, utilizing temporal sound manipulation, and featuring original composition by Jakov Munižaba performed on the EMS Synthi 100 in the Electronic Studio of Radio Belgrade, this work reveals previously inaccessible and speculative sonic spaces of the garden.
The piece is a part of the collection “Garden of Sound” by Marija Stojnić and Jakov Munizaba, created for the Center for the Promotion of Science, in collaboration with Jevremovac Botanical Garden, and Radio Belgrade, in Serbia, 2024.

Jakov Munižaba designed sound for over 100 films, many of which have screened at Cannes, Venice, Berlin, and Sundance. He directs radio drama, composes film music, teaches sound in Belgrade and Podgorica, and collaborates with Radio Belgrade's EMS electronic music studio.

Marija Stojnić is a film director, producer and artist-researcher. Her film about Radio Belgrade, "Speak So I Can See You" has screened at MoMA, and at festivals in Amsterdam, Thessaloniki, Melbourne, Munich. She is a co-founder of the vocal group Rosa.
http://www.marijastojnic.com
ig: marija_stojnic, mstojnic
ig: knjigofaci

 
2) Cat Hawthorn - Out of Order

‘Out of Order’ is a soundscape composition that explores the acoustic environments of public toilets. The piece features a series of recordings made in four different bathrooms across Glasgow. Unedited stereo recordings of each site are placed alongside processed recordings of sounds ‘hidden’ within the sonic environment: creaking pipes, rumbling cisterns and gargling plug holes. These contrasting perspectives create two distinct sonic landscapes; the public ‘exterior’ and the personal ‘interior’ space. In the intimate moments of the piece, I speak directly to the listener, reflecting on my thoughts and feelings as I occupy each space. Gradually moving between the two, ‘Out of Order’ reveals the precarious nature of these sites; where the boundaries between public and private, personal and shared experience are blurred.

Cat Hawthorn is a Sound Designer and Artist currently based in Glasgow. For the past seven years, they have collaborated with artists and organisations across the U.K. to create sound for theatre, film and installation. From 2019-2021 they were part of the Almeida Theatre’s Young Resident Designer programme and in 2023 they completed an MSc in Sound Design and Audiovisual Practice at the University of Glasgow. Their work considers the interplay between sound, technology and the physiological and political dimensions of the human body.
https://www.cathawthornsounds.co.uk

 
3) Eduardo Espinosa - sounds from the south

I did this while on summer vacation in my home country. I recorded sounds from things like a coffee maker (the first sound that appeared) and a prepared piano for some of the metallic sounds. My main goal was to integrate water sounds with metallic and electronic sounds. The piece is called Sounds from the South because all of that happened in South America.

Eduardo Espinosa is a Colombian composer. His two favorite kinds of music are orchestral and electronic (which he also uses for ambient). He is in the third semester of his master's in music composition at Ohio University. He would like to work on music for the screen, video games, and radio, all involving music and sound.
https://soundcloud.com/duardospinosa

4) Nicola Cappelletti - Interno Pozzo (7:20)
5) Unconscious Collective - The Liverpool Pathway (12:00)
6) Andrew Ramsey - First Impressions (2:48)
7) Paul Meikle - Man Creates Nature Intervenes (9:28)
 
 
4) Nicola Cappelletti - Interno Pozzo

Interno pozzo (int. well) is part of a larger site-specific work dedicated to the city of Montepulciano. With a cinematic and sonic point of view, the piece investigates the soundscape of the city, subjected to heavy tourist flows, voluntarily hiding itself from the sight of the sound source for an acousmatic awareness. The result is a reconstruction from inside a well of an image of the city, in which ecosystemic elements attempt a new coexistence.

Nicola Cappelletti (ITA/FRA) is an electroacoustic sound artist. His artistic research focuses on the relationship between acoustic sound and electronic treatment in relation to contemporary music and arts, with forays into rock and club music, concerts of radical improvisation for prepared violin, prepared electric bass and live electronics.
http://www.nicolacappelletti.com
https://www.instagram.com/nikcplt/
https://www.facebook.com/nicola.cappelletti


5) Unconscious Collective - The Liverpool Pathway

The Liverpool Pathway manipulates, edits, and comments on material found within uses material from radio, records and & internet. The work often mirrors the collective unconscious through the use of voyeurism and dark humour.  The resulting work is a collage of real experiences to collage and montage to reflect upon the things they love, and simultaneously place them in ridicule. Various elements are produced to fit together smoothly, whereas other clash. Then discrepancies convey an impression of a heterogeneous assemblage; a careful randomness of disparate elements and collisions. The work critiques the uses of the public domain and plays with the endless juxtaposition of media. Taking the elements from around us and making them into music. A collage of reality, times, experience. This being evolved towards radio. Including voyeurism and black humour. Reflecting the things we love, and placing thing in ridicule. Putting the disparate and colliding them, in careful randomness

Central London based collective; Jane Burton, Doris Lake, Samantha Brook & Rachel Parks
Their logo is a Hammer and a Cabbage
And use various monikers to create under
https://instituteforalienresearchvariousartists.bandcamp.com/album/making-banana-sounds

 
6) Andrew Ramsey - First Impressions

After applying and being accepted as an artist, I participated in the Cities and Memories - Migration Sounds Project reinterpreting a field recording submitted by Linda Koncz. The original recording encompassed the sounds of a rainy afternoon captured from a window in Lisbon, Portugal. Koncz’s description of the intense Portuguese rainfall and the impression they made of the city, after relocating from Hungary, inspired me to recollect on my first impressions of Lisbon, and other cities I have traveled and relocated to over the years. When transforming the original recording into a new composition I utilized personal field recordings from the first time I visited Lisbon interwoven with the submitted recording to create a rich soundscape portraying a story of memories collected throughout the city. I then reharmonized the sonic elements in order to enhance the trace they imprint on the listener, drawing attention to the ones sonic world.

My name is Andrew Ramsey, I am a sound designer and audio artist originally from Louisville, Kentucky. I relocated to scotland to originally persue a MSc in Sound Design at the University of Edinburgh. I now live in Glasgow, Scotland and work as a sound designer at Junkfish games. My other audio practices heavily focus on field recording, acoustic ecology, and deep listening practices in order to draw attention to ones surroundings through sound.

andrewramseysounds.com
https://www.instagram.com/andrewmunro47/


7) Paul Meikle - Man Creates Nature Intervenes

Man Creates, Nature Intervenes is an album created in 2017 during a one-month residency at Satellietgroep in The Hague, focusing on the Zandmotor, a man-made peninsula designed to protect the coastline from erosion and support marine life. I visited the area almost daily, collecting objects, taking photos, and making field recordings. The album seeks to document the ever-changing, often harsh environment, capturing my genuine impressions of the space. I made instruments from found beach objects, recorded and resampled them, and manipulated sounds with sand and water. By embracing imperfect recordings made on the beach, I explored ways to transform them into musical and textural elements. The final album is a collection of memories, reflecting my feelings and impressions from these visits. By working with the space, rather than striving for pristine sound, I aimed to capture its authentic essence. (condensed mix of the album attached)

Edinburgh-based artist Paul Meikle explores environments and objects altered by time, erosion, intentional and unintentional damage, and weather. He captures these transitional processes in his sound work using fabricated external elements. By employing lo-fi tape equipment for field recordings and destructively processing sound, he condenses long environmental reactions such as ageing and erosion, while preserving the unique character of these natural processes.
https://paulypocket.com/
https://www.instagram.com/_pauly.pocket_/

Chantal Dumas, “Oscillations planétaires” (2017-18, 19) stereo fixed medium “Oscillations planétaires” evokes geology. In all the layers that make it, from its core to its surface areas, Planet Earth is inhabited by undulatory motions of extremely varied temporal scales. Some are inscribed in a geological timeframe while others follow a daily cycle. This oscillatory ensemble contributes to the mechanisms that rule the Earth’s dynamics. These are the phenomena evoked in the work:   Earthquakes - Every year, there are between 800,000 and 1,000,000 earthquakes worldwide. Most of these tremors are too weak to be felt or happen in uninhabited areas.   Antarctic Plate - Tectonic plates move in relation to one another. The Antarctic Plate moves slowly at a speed of a few millimetres to two centimetres per year, depending on its contact zones with the dozen or so plates and microplates hooked to its perimeter.   Subduction happens when two plates collide. The densest plate dives under the other one, sinking into an extremely hot layer of the Earth called the mantle, dragging along water and the sediments that accrued on it over millions of years.   Oceanic Trench - Challenger Deep is the deepest point known on Earth. It hides at the bottom of the Mariana Trench, at a depth of close to 11 kilometres under the surface of the Western Pacific Ocean, near the Mariana Islands.   Mantle Convection - Plate tectonics revolutionized Earth sciences when it was formulated as a theory in the 1960s, giving birth to several hypotheses about the mechanics that set plates in motion. Today, we know that the key of this mystery resides in the convection of the Earth’s depths.  Geysers - are naturally occurring phenomena that are extremely frail and sensitive to earthquakes. Their activities vary according to the impact earthquakes have on their structure.   Mountain Building - Mountain ranges are mostly formed in subduction zones. When a continental plate encounters an oceanic plate, the latter, denser, slides under the former, which, now under tremendous pressure, ridges and rises.   Earth Tide - In 1994, Maya Tolstoy, a renowned marine geophysicist and scientist, discovered the first concrete evidence that tides — the movements of oceans and solid earth in response to astronomical forces — can trigger underwater earthquakes. “On sea floors, where the weight of the ocean exerts downward and upward pressures, the floor moves with the water in relation to this distortion,” she tells. “It is as if the seabed was breathing along with the tides.”   Geomagnetism - The magnetic field of the Earth has a strange ability: it can flip, meaning that the North Pole becomes the South Pole and vice versa. Magnetic inversions happen periodically, but at irregular, unpredictable intervals. The Earth has known hundreds of such inversions in its lifetime. The last one happened about 780,000 years ago.   Mid-Atlantic Ridge - The Mid-Atlantic Ridge is part of a wide network of underwater volcanic mountain ranges. It runs for 10,000 kilometres through the Atlantic Ocean. And despite an average height of 3,000 metres, it emerges at only nine spots where it forms volcanic islands and rocky peaks.   Seismic Waves - When an earthquake is triggered, a front of seismic waves propagates through geological layers to reach the surface of the Earth. These waves are very fast and elastic; they run in all directions from their point of origin. Artist bio: In her productions, Dumas approaches various themes, some of them more often: time, space, territory, the elsewhere, listening. Cartography inserts itself naturally as a subtext in her compositions, acting as a structural element. Dumas’s works have earned her awards and distinctions Oscillations planétaires in nomination at Prix Opus (2019), and from Prix Opus (Québec, 2009-10). She also got Prix Bohemia Radio (Czech Republic, 2010), Concours international Phonurgia Nova (France, 1997, 2001). Website/social links https://avatarquebec.org/dialoguesavecchantaldumas/ https://electrocd.com/fr/album/6044/Chantal_Dumas/Oscillations_planétaires chantaldumas.org

Chantal Dumas, “Oscillations planétaires” (2017-18, 19) stereo fixed medium “Oscillations planétaires” evokes geology. In all the layers that make it, from its core to its surface areas, Planet Earth is inhabited by undulatory motions of extremely varied temporal scales. Some are inscribed in a geological timeframe while others follow a daily cycle. This oscillatory ensemble contributes to the mechanisms that rule the Earth’s dynamics. These are the phenomena evoked in the work:   Earthquakes - Every year, there are between 800,000 and 1,000,000 earthquakes worldwide. Most of these tremors are too weak to be felt or happen in uninhabited areas.   Antarctic Plate - Tectonic plates move in relation to one another. The Antarctic Plate moves slowly at a speed of a few millimetres to two centimetres per year, depending on its contact zones with the dozen or so plates and microplates hooked to its perimeter.   Subduction happens when two plates collide. The densest plate dives under the other one, sinking into an extremely hot layer of the Earth called the mantle, dragging along water and the sediments that accrued on it over millions of years.   Oceanic Trench - Challenger Deep is the deepest point known on Earth. It hides at the bottom of the Mariana Trench, at a depth of close to 11 kilometres under the surface of the Western Pacific Ocean, near the Mariana Islands.   Mantle Convection - Plate tectonics revolutionized Earth sciences when it was formulated as a theory in the 1960s, giving birth to several hypotheses about the mechanics that set plates in motion. Today, we know that the key of this mystery resides in the convection of the Earth’s depths.  Geysers - are naturally occurring phenomena that are extremely frail and sensitive to earthquakes. Their activities vary according to the impact earthquakes have on their structure.   Mountain Building - Mountain ranges are mostly formed in subduction zones. When a continental plate encounters an oceanic plate, the latter, denser, slides under the former, which, now under tremendous pressure, ridges and rises.   Earth Tide - In 1994, Maya Tolstoy, a renowned marine geophysicist and scientist, discovered the first concrete evidence that tides — the movements of oceans and solid earth in response to astronomical forces — can trigger underwater earthquakes. “On sea floors, where the weight of the ocean exerts downward and upward pressures, the floor moves with the water in relation to this distortion,” she tells. “It is as if the seabed was breathing along with the tides.”   Geomagnetism - The magnetic field of the Earth has a strange ability: it can flip, meaning that the North Pole becomes the South Pole and vice versa. Magnetic inversions happen periodically, but at irregular, unpredictable intervals. The Earth has known hundreds of such inversions in its lifetime. The last one happened about 780,000 years ago.   Mid-Atlantic Ridge - The Mid-Atlantic Ridge is part of a wide network of underwater volcanic mountain ranges. It runs for 10,000 kilometres through the Atlantic Ocean. And despite an average height of 3,000 metres, it emerges at only nine spots where it forms volcanic islands and rocky peaks.   Seismic Waves - When an earthquake is triggered, a front of seismic waves propagates through geological layers to reach the surface of the Earth. These waves are very fast and elastic; they run in all directions from their point of origin. Artist bio: In her productions, Dumas approaches various themes, some of them more often: time, space, territory, the elsewhere, listening. Cartography inserts itself naturally as a subtext in her compositions, acting as a structural element. Dumas’s works have earned her awards and distinctions Oscillations planétaires in nomination at Prix Opus (2019), and from Prix Opus (Québec, 2009-10). She also got Prix Bohemia Radio (Czech Republic, 2010), Concours international Phonurgia Nova (France, 1997, 2001). Website/social links https://avatarquebec.org/dialoguesavecchantaldumas/ https://electrocd.com/fr/album/6044/Chantal_Dumas/Oscillations_planétaires chantaldumas.org