Grid 2023

Flatline Voyages is a sound project that explores the relationships between drone music, radiointerference, and short-wave transmissions. It combines a series of SDR recordings from all over the world (number stations, Chinese traditional music, beacons, radio hams...), drones, and sounds gathered from fellow musicians(Andrea Marinelli, Asymmetric Cut, and A Distant Shore), coalescing them in a slowly evolving artificial soundscape.

It was conceived as a series of extended listenings I made during lockdowns, navigating the SW spectrum from my studio where the aural component was partially deprived of its information content and became a means to explore the world.

Chelidon Frame is an experimental electronicmusic project that mainly works with field recordings, radio interferences,guitars, and processed sounds.

His installations are experience-based and suggest a dialogue between the location (both virtual andphysical) and the sounds proposed, aiming to deliver a message in the simpler yet most effective way. The use of code, data analysis, and data-driven sounds, allow information to be experienced anew.

In his studio works and live sets, different layers of sounds - guitars, synthesizers, and custom-made instruments- pile up creating unexpected new soundscapes. He is the founder of the Asynchronous Drone Orchestra.

http://chelidonframe.bandcamp.com/

ANNA FRIZ (Santa Cruz, CA)•AUGUST BLACK (Boulder, CO)•BETSEY BIGGS (Boulder, CO)•MAXIMILIAN GOLDFARB (Hudson, NY)

The Conduction Series is a collaborative live radio broadcast produced by a group of sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. The group comes together on the first Friday of every month at 4:10pm ET using the web platform Mezcal. Emphasizing LIVE interactivity and media archaeological methods, the series explores themes of migration, feedback, user participation, low-key and on-site interaction with mobile devices, and remote collaboration at scale.

https://conduction.wavefarm.org/

Terrania is a gothic-eco-drama podcast exploring gender-queer and disability in the face of climate catastrophe. This project draws on contemporary environmental realities to explore how (dis)abled, genderqueer bodies might be reimagined in dystopian andutopian futurity narratives. The podcast consists of a series of micro-episodes with a specifically composed music soundtrack. Listeners experience these otherwordly geographies through the perspective of dual protagonist viewpoints and a sonic environment that evokes hope in the face of impending doom. It locates (dis)abled, genderqueer bodies on the frontline of climate emergency. Terrania is produced on unceded Wurundjeri Country.

Nicky Stott is a writer, media activist andartist working with analog and digital media since 1991. They have produced 3CRCommunity Radio’s environmental current affairs program Earth Matters since 2010. Dr. Nat Grant is a sound artist working across live performance, recording and broadcast, digital arts, andcommunity arts. Nat has created original chamber music, durational sound artworks, has composed and created sound design for theatre, dance, film, and live art, and in 2018 received the Age Music Victoria award for best Experimental/Avant-Garde Act. Luc Yong is a potter, writer, musician, and painter.

Nicky Stott https://linktr.ee/nickystott

Nat Grant http://natgrantmusic.com

Luc Yong http://lucslikeit.com

Before the Eyes is an art project that aims to make art more accessible to the visually impaired through the production ofsound descriptions of contemporary art exhibitions. The main objective is to facilitate inclusivity and enjoyment of art, so that people who see little or nothing can have a full and engaging experience. Its aim is to build a freeonline archive of sound catalogues, which allow the described exhibitions to 'live' for longer than their temporary nature. In this episode: Age of Coming, Matt Copson’s exhibition at Clearing Gallery Brussels. BtE is supported by the Ligue Braille Belgium

Marco Lampis, artist living in Brussels. He studied Belle Arti in Bologna and UDK in Berlin. Lampis has participated in workshops and residencies, including QO2 in Brussels and Gasworks International Program Residency. His artistic research centers on human perception of reality, especially the relationship between sound and image. Lampis explores this theme through various means like performative actions, workshops, music productions, and sculptures. He employs a method of excluding one element to delve deeper into understanding the other, like visually analyzing sound or examining visual perception acoustically. He also has a Consumer Waste Record release entitled Object Shape Description.

beforetheeyes.vision

marcolampis.tumblr.com

soundcloud.com/marcoslampis

Sound compositions made by the artists invited for the 4th edition of SONICFUTURE RESIDENCIES organized by SEMI SILENT, and that took place in the village Port Cetate, Romania, on the border of the Danube, in September 2022.

Artists: Jeanne Debarsy(BE), Veronika Svobodova (CZ), Lloyd Dunn (US/CZ), pablo sanz (ES), JasminaAl-Qaisi (RO), Sillyconductor (RO)

Artistic director: Anamaria Pravicencu

http://semisilent.ro

What happened?

We don't know exactly

Of course, there are rumors and echoes

But they are perhaps only reminiscences

Time and space seem out of tune

Behaviors have also changed

But still, the Danube doesn’t stop flowing.

With this piece, the author wanted to translate a precise feeling that cradled the 10-day residency in the small village of Port Cetate, in Romania: a strange feeling of the end of the world, with a historically low water level that prevented navigation on the Danube, a very prevalent animal kingdom, few humans, the impression of evolving either in the past or in the future but certainly not in the present.

Sound piece composed with recordings made during Sonic Futures Residencies in Port Cetate (Romania), a program by SEMI SILENT, co-produced by Babelfish.

Jeanne Debarsy is a sound artist based in Belgium where she studied to become a sound engineer. She worksi n various domains of sound and collaborates with many artists in cinema, radio, music, and various arts. She is particularly passionate about radio media because it gives her freedom of action and expression precious to her eyes. She continues to develop her own sound language to refine her personal research and to explore the fields of performance and installation.

https://jeannedebarsy.com

Aurélie Nyirabikali Lierman

Just Outside the Wombskin

‘Just Outside the Wombskin’ is an ode to Aurélie Nyirabikali Lierman’s ancestral land in general as well to her grandfathers incredible legacy and age in particular. Lierman’s super-centenarian grandfather – Kanyoni Ladislas – just turned 109 at the beginning of 2019. He lives on volcano Mt. Karisimbi in the Virunga Mountains in Rwanda and perhaps is one of the last pre-colonial traditional hunters and medicine. Lierman visits him as often as possible to record their ongoing conversations about his past, and collect these for her ever growing archive called Africa On Tape. All sounds heard are purely based on recent field recordings from her grandfather’s house and village.

iota mikro

Build up like a dream sequence iota mikro invites us into an intimate and introspective journey by evoking imaginary memories from Aurélie Nyirabikali Lierman’s very early childhood years. iotamikro is an artistic reflection on Lierman’s double identity, Belgian and Rwandan, revealing her experiences of the two different realities. All sounds heard are purely based on recent field recordings from Lierman’s birthplace at the Karisimbi volcano in Rwanda. Since her real paper birth certificate is missing, this is Lierman’s sonic birth certificate.

iota mikro is dedicated to her Rwandan Belgian godchild: Jerom Dom.

Biography

Aurélie Nyirabikali Lierman is a Belgian-Rwandan composer, radio and vocal artist. Pioneer of Afro-European radio art and musical theatre. Her work has been described as bold, provocative and delicate.

She brings unique stories to life in an accessible and at the same time innovative way: based on acoustic sounds and soundscapes that she moves around like a kind of 3D cinema, but for the ears. She records all the sound recordings in her work herself during her many field recording expeditions to East-Africa.

Just this year she created Umva! an intimate ode to Kanyoni Ladislas, her 113-year-old grandfather and one of the last traditional doctors and hunters in Rwanda.

She collaborates with other artists in a variety of disciplines and fields and has won many prizes at home and abroad.

https://aurelielierman.be

This is an unmixed natural soundscape made in the suggestive Asinara Island. You can hear the wind like you are inside it. Like you are an abandoned prison, or an abandoned stall. You can also feel yourself like an animal, a special animal which lives here and gave the name at the island itself.. or like a prisoner, a free prisoner under the sky and hidden in the wind. Just go blind for this journey. This is a prison but a windy one.

My name is Andrea Oppo, I live and work in Italy in cinema and documentary films as sound mixer and boom operator. I’m very interested in recording sound for documentaries.

https://www.imdb.com/name/nm9443862/

https://taeateh.bandcamp.com/album/2011-i-want-a-desert-island-more-time-to-get-brown-more-time-to-be-alone

 4) Meryll Hardt - Antenna 

A short radio operetta composed with an electric piano and then orchestrated with a Farfisa and a mini moog (virtual).  Having both in mind Holger Hiller and Pierrot Lunaire of Arnold Schöneberg, 1910 and 1980, the dadas and the Neue Deutsch Welle, she decided  not to write her own lyrics but rather continue the reappropriating and revisit Antenna’s lyrics from Kraftwerk in a quite a psyche lofi different direction from the original.  

Meryll Hardt  (Fr, 1984) learned music and radioplay mainly with her friends from Gagarin Records, Felix Kubin and Mark Vernon. She also went to art school, graduating in visual and performance art. In 2013, she directed a short musical docu-fiction film featuring herself at Le Corbusier's Cité Radieuse in Marseille. Passionate about science-fiction, architecture and history, she's also a big fan of Star Trek.  

Links : 
https://www.instagram.com/meryll_hardt/
https://soundcloud.com/meryllh

Founded by Marjorie van Halteren, Electro-acoustical Poetical Society are a group of poets: Marjory van Halteren in France, Jeff Gburek in Poland, Ilaria Boffa in Italy, Brian Price and Tony Brewer in Indiana, and Joan Schuman in Cali. Given a theme, each participant makes a poem for sound. The contributions are then organically compiled into a show by Marjory.

Aurélie Nyirabikali Lierman

KARIAKOO

KARIAKOO is a portrait of Kariakoo, a vibrant neighborhoodin Dar Es Salaam (Tanzania).
It’s hard to speak of one specific ‘protagonist’ in KARIAKOO. Since the‘superstar’ in this story is not a person but a geographical spot. Not onehuman being but a whole neighborhood. Not singular but plural.
KARIAKOO is about the whole community of individuals who are living or working,visiting or just walking accidentally in and out Kariakoo: all together forminga highly unique polyphony of ‘voices’ creating a sonic environment with aclearly defined identity.
There are some voices that you mayconsider as ‘singular characters’ but in fact they are reduced to the functionof supporting actors. Or as ‘humanized’ props, merely used like a vessel, tocarry the narrative from one scene to another. Or like a medium through whichthe story of Kariakoo gets transmitted or received, told or heard.

3) berni m janssen & vicki hallett - murmurs:melt

The river, as ecosystem, connector, memory,metaphor is explored in this collaborative work by berni m janssen (text andvocals) and Vicki Hallett (field recordings and composition). Texts,recordings, composition are streams, responding, joining and swelling to createthe river as a melt of time and place. Hydrophone recordings take us below thesurface into the minutiae of the rivers’ lives and particles, while the textprompts us to imagine what was, what is and what they will become.

berni m janssen is a maker of poems,performances, multidisciplinary art and preserves. She often works withcomposers, musicians, sound artists, performers and visual artists. She livesand works on the unceded land of the Dja Dja Wurrung in Australia.

Vicki Hallett is a musician, acousticecologist and composer. Her focus is to record, compose with, and featureever-diminishing habitats and species. Highlighting unique sounds from themicro to the macro, Hallett utilises sounds we rarely or cannot hear. Halletttravels the world recording sounds as well as performing in environments inAfrica (with hippopotami) and the Amazon jungle. http://www.vickihallett.com

The Outer Hebrides are among rural communities throughout the world that are experiencing population decline. Out of any Scottish local authority region, The Outer Hebrides is where this is most significant. From 1901 to 2001the population has fallen by 40% and continues to drop more dramatically in recent years. The Outer Hebrides comprise more than 70 islands but only 15remain inhabited today. Tiugainn Dachaidh is a project which casts a light on this issue, using field recordings captured in abandoned houses in the Hebrides and Scottish archive material to paint wounded soundscapes of a culture in decline.

Fraser MacBeath is an audiovisual artist from the Isle of Lewis. Using the mediums of sound, film and installation, Fraser creates work which combines elements of musique concrète, sound art and ambient music with abstract film and physical environments. His work focuses on themes of memory, culture, hauntology, sociological issues and the relationship between tradition and modernity. Fraser’s work often centers around his home in the Outer Hebrides, and attempts to contemporise the often archaic view of rural Scotland.

https://www.instagram.com/frasermacbeath.av/

https://frasermacbeath.squarespace.com

Slideout of summer and ease into autumn. 

A Collaborative ensemble of Dosimatis a polyglot depot for municipal events.

Keeping Time is a 22-hour-long meditative radio work that focuses on our perception of the passage of time and how time is measured. The piece combines durational recordings of clock workshops around the UK and beyond with a specially constructed ‘radio clock’ painstakingly created from 3,600 individual percussive sounds – one for each second of the hour – plus excerpts from interviews with some of the horologists who generously gave up their time for this project.

It was originally commissioned by Radio Art Zone for Esch City of Culture 2022. Radio Art Zone was an epic 100-day long radio marathon in which 100 different artists each presented a 22-hour-long radio work.

Listen to the full 22-hour-long programme and view the documentation of the project on the dedicated webpage here.

Jammin’ is a mashed-up sonic (anti-)ethnography of networked multi-user audio streaming platforms such as Jamulus and SonoBus — MUDs for musos. This episode is a montage of recordings made in various jam rooms I entered or initiated in April 2021 during COVID lockdowns in Berlin. They were edited together with excerpts from a conversation I had in November 2020 with Helsinki-based artist Suva Das and a recording from his first performance on fugitive radio in August 2020.

Special thanks to ‘Europe session’, ‘Jazz so what’, ‘probando‘, ‘talktesttrytipstricks‘, ‘1234_Portugal‘ among others. Also a shout out to Peter from Exerzierstraße for introducing me to these spaces.

fugitive radio was initiated by Sumugan Sivanesan in 2020 to research migrant, queer and anticolonial issues and music in Helsinki, in collaboration with not only media arts association, Pixelache Helsinki, and generously supported by Kone Foundation. Since 2021 the fugitive frequency podcast has broadcast on the first Tuesday of every month with CoLaboRadio on Freie Radios–Berlin Brandenburg. It is also available on Helsinki Open Waves and lumbung radio/Station of Commons. Now into its third season, the fugitive frequency podcast has become a vehicle to record interviews, document events and performances, share music and collaborate with others curious about radio as a research method.

Blue Ecology for Future Memory playfully imagines a sci-fi exchange between an anonymous user who sings in their sleep; an “empathy-trained” AI, the Isostasy Voice Companion^TM; and the Dinoflagellate Overmind, abioluminescent, phytoplankton super-consciousness.

The user’s hypersensitive experience ofultra-terrestrial contact in Puerto Rico becomes a whirling portal enabling thetelepathic PyrodiniumBahamense to enter, infecting Amber the TeleTher-pathist^TM with the neurotoxin, Saxitoxin. In the expanded state of interspecies communication, the user receives messages through ancient, secret-containing eco-cultural technologies.

The leaked session recording captures psycho-sonic knowledge transfer disruptions that are due to various system glitches occurring throughout the dynamic exchange, which is all of a sudden cut short.

Credits: Text, sound, and voice (user and Pyrodinium Bahamense)by José Alejandro Rivera (Proxemia) 

Additional AI voices featuring Amber, #667777(“Isostasy Voice Companion^TM”)and Cora, #653214 (“Isostasy System Default”) from speechgen.io

Blue Ecology for Future Memory - proxemia sound

José Alejandro Rivera (Proxemia) is a sound artist, composer, performer, and designer. Informed by a background in music, architecture, and tending land, José draws on critical cartography, systems, and flows of temporalities to create evocative, experimental sound works, radio and transmission art, geo-notational maps, sound design for film, and place-based, multichannel installations.

Their layered encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency,sites of contingency and multiplicity, science fiction, and notions of identity as they relate to neurodivergence, language, diaspora, and queerness. Among many physical spaces, their work has been presented on radia.fm, Radio Amnion,Wave Farm’s WGXC-90.fm, framework radio, textsound.org, and disquiet.com.

They studied art and sound in MIT’s Program in Art, Culture, & Technology (MSc 2017), and hold a BS in Architecture& Environmental Design from Kent State University (2011). They are currently based in southwest Vermont, US.

http://www.proxemiasound.net

@jrriverr

Orkney Library & Archive’s sound archive is home to hundreds of voices on reel to reel tapes and cassettes, rich in dialect and broad in content. We wondered about the home these voices had before they made it in to the archives. We wanted to ask them a question ‘What does home mean to you?’.

Travelling across time, this audio ballad is a lyrical and immersive experience. Let the Orkney Sound Waves wash over you.

https://orkneysoundwaves.wordpress.com/

Kolekto is the creative partnership of Rebecca Marr and Mark Jenkins. Based in Orkney, Scotland, they provide a bespoke design and delivery service for community heritage and participatory arts projects through audio, photography and film production.

kolekto.co.uk

https://twitter.com/KolektoCreative

https://www.instagram.com/kolektocreative/

Tallentamisesta is a radio essay, that contemplates ways of preserving things. Is it possible to preserve things and access them again in the future? How can something so complex as an acoustic sound or a thought be saved in any kind of format? The essay is mostly in Finnish, and it is written, narrated and sound designed by Olli Aarni, except for an English passage that's narrated by Mia Tarkela.

Olli Aarni (born 1988) is an experimental sound and music artist based in Helsinki, Finland. His work has been published on LPs, CDs and cassette tapes in four continents, and in addition he has made sound poetry, interactive web-based sound pieces, installations and radio work.

olliaarni.com
olliaarni.bandcamp.com

An audio collage made up of layers of found and manipulated sound, captured and created at a residency in the small town of Jilotepec and its neighbouring Mexico City. Amongst the noise and the voices that the artist encountered are melodic experiments created in response to the wonderfully precarious environment. DIY instruments, software and pedals act as a blanket to the voice notes sent in Spanish that investigate the unanswered question of why so many female artists find themselves creating in Mexico.

Velvachell is an artist and musician working with visual and sound collage. She collects the peculiar fragments of our everyday whilst recreating imagined memories. She recently presented a series of sound works and photographic transfers titled 'oddities of the waking hour' at COBERTIZO, Mexico and this audio piece presented for Radiophrenia was originally part of an installation and solo exhibition at Listen Gallery, Glasgow. She has also exhibited at Street Level Photoworks and Glasgow Open House Arts Festival in 2021.

Portfolio: Velvachell (cargocollective.com)
Instagram: @v.rchell

This piece was commissioned as a response to the 1988 performance BledEdge by Alastair MacLennan. Sections of an interview with MacLennan are interspersed with Bale's meditations on the concept of shared memory, or even memory itself, in relation both to a deliberately evanescent form such as performance or such a slippery concept such as history, or "era". It culminates in an awkward late night street corner conversation with a sardonic ghost, voiced by the artist Nicola Woodham.

Voices:
Alastair MacLennan  
Nicola Woodham  
Robin Bale
TS Eliot

Written, produced, composed and directed by Robin Bale

Robin Bale

Robin Bale is a performer, poet and sound artist from London.

http://www.robinbale.blogspot.co.uk

[ATXT] is a polyphonic audio performance with a focus on non-linearnarratives and auto-fiction. A live and improvised manipulation ofself-documentation (field-recordings, digital-memos, reading annotations,browser data, etc.) using standard audio hardware (DJ gear/effectpedals/samplers) in combination with self-built tools (DIY scripts/software, lofi-loopers).Audience is invited to a distractive [non±]reading session that might feel likea soundtrack or perfume or a dj-set or background noise or day dreaming.

Sandra Golubjevaite (she/her) is an artist working with and through code.She practices continuous prototyping as a method to research and to think aboutdigital tools ± situations that stimulate, empower, and amplify women's voicesand narratives. Web ± IRL performances, installations and DIY language-basedinterfaces lie at the core of her practice.Through her practice she seeks tocreate a bridge between language, autobiography and coding practices as an actof refusal to commodified and often masculine-imposed approaches to softwaredevelopment  ± knowledge production.

https://golubjevaite.com

[ATXT] is a polyphonic audio performance with a focus on non-linearnarratives and auto-fiction. A live and improvised manipulation ofself-documentation (field-recordings, digital-memos, reading annotations,browser data, etc.) using standard audio hardware (DJ gear/effectpedals/samplers) in combination with self-built tools (DIY scripts/software, lofi-loopers).Audience is invited to a distractive [non±]reading session that might feel likea soundtrack or perfume or a dj-set or background noise or day dreaming.

Sandra Golubjevaite (she/her) is an artist working with and through code.She practices continuous prototyping as a method to research and to think aboutdigital tools ± situations that stimulate, empower, and amplify women's voicesand narratives. Web ± IRL performances, installations and DIY language-basedinterfaces lie at the core of her practice.Through her practice she seeks tocreate a bridge between language, autobiography and coding practices as an actof refusal to commodified and often masculine-imposed approaches to softwaredevelopment  ± knowledge production.

https://golubjevaite.com

fugitive frequency: AlanisObomsawin, “Our people can be themselves and feel good about it.” (season 2,episode 4, April 2022)

This episode is an audio portrait of Alanis Obomsawin, an Indigenous Abenaki filmmaker, singer, activist and “national treasure" from Turtle Island/Canada. We spoke online late in February 2021 with reference to a major survey exhibition of Alanis’ life and work, “The Children Have to Hear Another Story”, 12 February – 18 April 2021, Haus derKulturen der Welt Berlin.

Many thanks to Lilli Heinemann from HKW and Michael Shu from the National Film Board of Canada for making this episode possible.

fugitive radio was initiated by Sumugan Sivanesan in 2020 to research migrant, queer and anticolonial issues and music in Helsinki, in collaboration with not only media arts association, Pixelache Helsinki, and generously supported by Kone Foundation. Since 2021 the fugitive frequency podcast has broadcast on the first Tuesday of every month with CoLaboRadio on Freie Radios–Berlin Brandenburg. It is also available on Helsinki Open Waves and lumbung radio/Station of Commons. Now into its third season, the fugitive frequency podcast has become a vehicle to record interviews, document events and performances, share music and collaborate with others curious about radio as a research method.

This is a concept album about convergent evolution in sound. The Earth has beenmaking sounds since it was formed, and in that time, all the sounds we haveheard have become more and more unique. This album honours, recognises andcelebrates the ways in which things have come to sound and how similar they canbe whether above or below the water.

My name is R Beuzeville, I work under the name indri, as well as my own name. Iam a studying ecologist who has been making sound projects for several years. Iwork predominantly with field recordings that I record myself all overAustralia, both above and below the water. I am interested in the way thatsound exists in the natural world and the differences in the way that we andother species utilise and experience the sonic world.

Music | R.Beuzeville (bandcamp.com)

These were part of a project called Leaky Transmissions whichspecifically rethought making audio work for radio listening. They both beganwith a workshop led by a poet around themes of field recording, transmission,listening and language. 

 1. Leaky Transmissions: Radio Silence 

The term ‘static’ is associated with faulty transmission or faultyreception—static is communication gone wrong. But what if ‘static’ is thoughtof as a generative space, where the effort and struggle of communication isvalued as a thing in itself?

In this collaboration, Nastassja Simensky, Emma Bolland, Larocheand Gesa Helms explore the spaces, metaphors, and struggles of ‘transmission’. Ina series of conversations following a workshop led by Emma Bolland, theyshared, translated, and responded to audio captioning, static, stutters and the‘machine silence’ of zoom. This material was mixed by Roisner and produced bysound Of ruins.

Nastassja Simensky is anartist who often works collaboratively to make writing, place-specificperformances, events, sound work and films as a form of ongoing fieldwork. EmmaBolland is an artist, writer, and lecturer whose work currentlyexplores pathologisation of language, the spaces of institutions, and thewider politics of communication. GesaHelms is an artist, researcher and educator. She lives betweenGlasgow, UK, and rural Northwest Germany. Laroche isan artist and writer working from field centres in the French Pyrenees,southern Spain and London, UK. Roisner is aperformance artist, music producer, sound engineer and DJ.

 2. Leaky Transmissions: Poetry as Field Recording 

Poetry as Field Recording is a collaborative audio work made byAnna Kime, Irina Sadovina, Ceri Nicholls, Nastassja Simensky and IoannisAndronikidis.

This audio collaboration emerged through a talk and workshop ledby writer and poet Mina Gorji and includes poetry, field recordings,reflections, and electronic and linguistic experiments. By collectivelythinking through the challenges of distinguishing and articulating what and howwe hear, the group considered how listening is culturally informed, and how ourcomprehension of what we hear is shaped through our own language(s).

Anna Kime: Herring Gul and Listeningto the Fern-Owl, Irina Sadovina: Writingthe Nightjar, Creatures Call and Owls Call, Yiannis Andronikidis: SoftGrounds Too & Fro, Ceri Nicholls: Ersatz,the moor at night, Nastassja Simensky and RebeccaLee: Cuckoo [Rings on Water]

The universe began in a tremendous explosion known as the BIG BANG…

Inspired by astronomy radio programmes this project combines storytelling, meditation and sound therapy techniques to guide participants on a journey through space-time - from the comfort of their sofa and closed eyes.

The narrative is woven through the cosmic soundscape created by the instruments typically played for relaxation, such as gongs or singing bowls, which help to induce Theta brain waves. This stimulates visualisation and deep relaxation. The aim is to explore the possibility of sound in altering the consciousness of the listener.

Aleks Wruk is a Glasgow-based performer, sound therapist, and experience researcher. With a background in interactive media design and a certification as a gong master, Aleks creates immersive sound experiences that transport audiences into states of deep relaxation. They have previously performed in various venues and festivals around Glasgow and Edinburgh and collaborated with organizations such as Take Me Somewhere Festival based in Tramway.
Aleks is also a wellbeing educator, and they are currently pursuing a PHD at the intersection of Psychology and AI.

Drawing inspiration from the Patti Smith lyric the name comes from and John Luther Adams’ “Become Ocean” this immersive soundscape composition explores theduality of the ocean as both peaceful and furious.  Using scientific recordings made by the National Oceanic Agency of America and samples from Become Ocean, processed into waves of drone and sonority, then layered into a multi-directional soundscape inspired by the currents, tides and undertows that lay beneath whatwe see on the surface. This work explores the ocean, its capacity to be both tranquil and serene one moment, intensely terrifying the next.

Andrew O’Connor is an independent radio producer, and sound artist based in Toronto Canada. His work reflects an interest in sound, storytelling, and transmission,and explores these ideas through formal broadcast radio as well as installation art, sound design, and pirate radio. Andrew’s work has been featured across the CBC Radio network, syndicated internationally, as well as featured at Le Grande Rencontre des Art Mediatiquein Gaspe, the Third Coast Filmless Festival in Chicago, and the UK International Radio Drama Festival. Andrew currently hosts and produces a weekly pirate radio show called DISCO 3000 on his long running, clandestine radio project Parkdale Pirate Radio.  

https://twitter.com/ParkdaleRadio

This creation is based of two free improvisations.
In the first part, the piano is being used in two different ways: pressing the keys to produce notes and taping with my hands and fingers all around the body of the piano, avoiding the keys.
The second part of this creation is a delicate and processed control of feedback coming from a No-Input Mixer. A mixer playing itself. On witch the output is plugged to the input, etc…

My goal here was to embrace weirdness, trying to make these two instrument cohabit while leaving them their own space. It is, in fact, an ode to the aesthetic of the medium radio: the meeting place of sounds par excellence, where cohabitation is happening.

Boris Allenou is an artist and musician who explores the limitless forms of Sound Art and Sound Ecology, by investigating the social role of sonic Eco-systems surrounding us.

Boris Allenou’s research use interactive sound installations, talks, workshops, music, radio creations and sound exploration events as mediums to reflect on, propose and conceptualize possible roles, places, meanings, interactions and aesthetics of sounds in our societies.

This creation is based of two free improvisations.
In the first part, the piano is being used in two different ways: pressing the keys to produce notes and taping with my hands and fingers all around the body of the piano, avoiding the keys.
The second part of this creation is a delicate and processed control of feedback coming from a No-Input Mixer. A mixer playing itself. On witch the output is plugged to the input, etc…

My goal here was to embrace weirdness, trying to make these two instrument cohabit while leaving them their own space. It is, in fact, an ode to the aesthetic of the medium radio: the meeting place of sounds par excellence, where cohabitation is happening.

Boris Allenou is an artist and musician who explores the limitless forms of Sound Art and Sound Ecology, by investigating the social role of sonic Eco-systems surrounding us.

Boris Allenou’s research use interactive sound installations, talks, workshops, music, radio creations and sound exploration events as mediums to reflect on, propose and conceptualize possible roles, places, meanings, interactions and aesthetics of sounds in our societies.

Sri Violet, a half hour radio piece created specifically for Radiophrenia 2023 and composed by the African Violet that lives in the Scully-Thurston family kitchen. Using electromagnetic biofeedback converted to MIDI signal, the plant sings. It was a drizzly overcast but warming into a spring day that delighted violet to sing. Interestingly, she sings in the style of Terry Riley improvisations, thus the Vedicish title.

This is a research element of Synthetic/Natural, an art installation sponsored by Duke Arts for Duke University's centennial. The installation will explore and amplify interactions between sun, water, wind, earth and plants. The results will be broadcast on a low wattage FM transmitter.

Christopher Scully-Thurston is a sound sculptor, installation artist, performer and composer living in Raleigh, NC, USA. He is a recent United Arts grant winner. As a Duke University Artist in Residence in 2021-23 with the team of Austin F Powers and Jennifer Scully-Thurston, they created SineWaves in the Triangle for the Agora Gallery and are currently designing, a full building art-creation covering the Rubenstein Arts Center at Duke University to be called Synthetic/Natural.

Using his long-time alias HyMettus Woods and/or as XSTSound, he is featured on the compilation Isolation and Rejection v3 and Rental Yields both released by Front and Follow Manchester UK; A Chattering of Runes Music based on Petroglyphs released by an eEl recordings; Dark Ambient 2 released by Sounds for the Soul. His release for the compilation remembering science fiction author Philip K Dick "Dreams Out of Joint '' on Machina Ad Noctem, Mexico City. HyMettus Woods is proud to have been broadcast a number of times as part of the Dark Outside. The XSTSound music-concrete radio show No Conflick was broadcast worldwide as part of Radiophrenia from the Centre for Contemporary Art, Glasgow, Scotland.

Christopher also creates for dance on film and choreographers, collaborating closely with his wife Jennifer Scully-Thurston's Rogue Dancer Productions and film festival.

hymettuswoods.bandcamp.com

This piece which uses found sounds and field recordings intended to enhance specific human emotions. This is influenced by the popular app ‘Calm’, which features soothing soundscapes for users to listen to help them relax, meditate or get to sleep. My hypothetical version of the app widens out the range of emotionally enhancing soundscapes to include less desirable or sonically familiar emotions such as Anger, Excitement, Annoyance, Contentment, Disgust, Relief and many more.

Whereas the Calm app features sounds like ‘rain on tent’, ‘pink noise’ and ‘the enchanted moss garden’, the ‘Don’t Keep Calm’ app may feature ‘drunken street shouting’, ‘audiences clapping’, ‘overly exuberant commercial radio adverts’ or ‘car alarm at 5am’.

The piece posits that all emotions are valid and can have productive outcomes, and questions the eternal quest for calmness and tranquility endorsed by the wellness industry.

This radio piece uses found sounds and field recordings intended to enhance specific human emotions. This is influenced by the popular app ‘Calm’, which features soothing soundscapes for users to listen to to help them relax, meditate or get to sleep. My hypothetical version of the app widens out the range of emotionally enhancing soundscapes to include less desirable or sonically familiar emotions such as Anger, Excitement, Annoyance, Contentment, Disgust, Relief and more. The piece posits that all emotions are valid and can have productive outcomes, and questions the eternal quest for calmness and tranquility endorsed by the wellness industry.

Clarry M is a DJ and sound artist based in Glasgow, hosting regular radio shows on Subcity radio and a residency on Radio Beuna Vida. She uses field recordings as a source material for musical experimentation and enjoys the unpredictability and scope of radio as an antithesis to the algorithms of streaming platforms.

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

Florine Mougel is amulti-media artist perpetually relocating herself. After studyingcinema-audiovisual at the Sorbonne and art and media at ESADMM, she obtainedher Masters in 2021 at the University of Art and Design in Linz. Since then,she joined the electroacoustic class at the Conservatory of Music in Amiens.Her poetic work addresses our relationship to the mediated contemporary worldthrough the prism of phenomenology, and unfolds around the technological andcollective unconscious, the coexistence of opposites, playfulness anddistraction.

 Website: mouflow.com

Instagram: florinemougel

Soundcloud:https://soundcloud.com/mouflow

3) Catalina Barroso Luque - Madre Perla (7:26)

By Leslie Deere

Project from two writers based in Newcastle upon Tyne. butteredfeet is a fiction

Each episode takes us to an ill-timed moment when characters tragic lives are steeped in metaphor and irony.

It’s poignant, sharp and bitterly familiar.

Suzie is better than musky Arnold, but fears a life alone with Shiraz. The Logans are Bonnie and Clyde drinking Monster cans. Dylan and Thomas enjoy a dusty market. Sam and Bex are a new-build couple laced in lies. Aiden and Beth love crisps as much as each other. Catherine and James are riddled with pretentiousness and their Peloton.  Caitlin is a desperately lonely insomniac but has the best bubble writing.

butteredfeet are Phil McDonald and Chris Smith. They’re writers from Newcastle upon Tyne also working in teaching and men's mental health. This project is their way of commenting on the absurdity, hilarity and poignant of relationships. They’re mostly inspired by standing in the queue at Morrisons.

Short-podcast now available on Spotify and iTunes.
@butteredfeet (Twitter)

As a child, I spent many afternoons and evenings watching television with my grandpa. Pre VCR, he liked to record the audio of a show via cassette recorder placed near the speaker. What I remember most about these is the laughter we made in the background – my grandpa had a thorough variety of laughter styles. These were destroyed, but my obsession to resurrect the past remains. Culled from two cassettes found at Goodwill in 2022, Dalin’s Dream presents two perspectives: someone who needs to be found, someone who wishes he were visible.

Dave Madden’s (aka nonnon) earliestmemories are Magical Mystery Tour and the guy who claimed to be theLizard King. Dave uses percussion, found objects, turntables and synthesis tocreate sonic environments of foggy memories of warehouses, rituals,subterranean boogeymen, submarines and other heterotopia, melatonin dreams etal. Madden’s current direction moves through Tudor’s rain forests with abackpack stocked with Hugh Davies’ contact mics, lost Stockhausen tape loops, andCrank Sturgeon’s guerilla attitude. Dave isalso forever focused on Nowhere Mountain, a decade-long film series withphotographer Mark Regester. He is also a journalist for The Squid’s Ear.

https://www.youtube.com/@phenomenonnon

https://thenonnon.bandcamp.com

https://instagram.com/nononnon

http://www.instagram.com/nowhere_mountain

Nowhere Mountain Vimeo https://vimeo.com/markregester

Kudaplovi ovaj brod? Where is this ship sailing? is a sound work built from hydrophone recordings of underwater sound pollution. The recordings were taken over the span of 2 years in the historical town of Korčula and its immediate surroundings.

This 40–minute long radio adaptation / sound installation is an unsettling journey revealing the dystopian realm of Adriatic noise contamination, due to increased water traffic and the insatiable urge for the expansion of industry and tourism. The work consciously exposes a disturbing marine reality in which an inexhaustible amount of mechanical sources are literally grinding the underwater soundscape.

Manja Ristić

Manja Ristić, born in Belgrade in 1979, is a violinist, sound artist, published poet, curator, and researcher. She graduated from the Belgrade Academy of Music (2001), then awarded at the Royal College of Music, London, with PGDip Solo/Ensemble Recitalist (2004). As a classical solo and chamber musician, as well as a composer and an improv musician She has performed all across Europe and in the US, involving collaborations with established conductors, performers, multimedia artists, poets, and theatre/film directors.



Ristić’s sound-related research besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts.



Ristić has created commissions for Kunstradio – Radiokunst, Radio Cona, Semi-Silent, Radiophrenia, Radio Art Zone, Radia.FM, Framework Radio, and all national broadcasting agencies across SE Europe. She co-curated sonoAdriatic Tales at Ars Electronica 2020 and in the last 20 years curated and developed a distinctive number of cultural events, international projects, cultural conferences, and educational platforms in the fields of inter-media, experimental sound-related arts, scene, and multimedia arts.



In the last decade, Ristić has published sound art independently as well as for labels and publishing bodies: mappa, Verdure Engraved, Cona Zavod, Naviar Records, Flag Day Recordings, Framework, Inexhaustible Editions, Elan Vital Recordings, SIRR-ECORDS, Sonospace, Cities & Memories, Auropolis, UIII / AIIR, 20 Seconds Art Magazine, AMPLIFY 2020, sonic matter, and more.


Works and lives on the island of Korčula, Croatia.

http://manjaristic.blogspot.com

https://manjaristic.bandcamp.com