← Saturday 5th September 2026 →

A full schedule can be found here

In making this year’s selections Radiophrenia was assisted by guest curator Semay Wu. Through a public engagement programme Radiophrenia has been working with seven different community groups to realise a new series of sound and radio works.

As in previous years the majority of the programme will be made up from selections submitted to an international open call for sound art and radio works. This year Radiophrenia received so many submissions that we felt it necessary to extend our broadcast across an additional weekend just to squeeze it all in.

The station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium. Radiophrenia first began broadcasting in April 2015 with subsequent editions in 2016, 2017, 2019, 2020, 2022, 2023 and 2025.

The schedule for today's broadcasts:

SPDM: Radiophrenia Special

5 September 2026 12:00 am - 1:00 am

SPDM is a collaborative hard drive excavation, a free-associative remix of our recent media consumption. A high velocity conversation through film, music, field recording, social media detritus - anything that can be stored as an audio file. Artist bio: SPDM is an ongoing collaboration between domingo castillo flores and Jeremy Segal. Using free-associative sound collage as their primary method, SPDM explores sound, meaning, and circulation through radio, performance, and music production. SPDM improvises live remixes of their recent media consumption once a month on 90mil Radio. In December 2025 they presented The Merve Tapes on Cashmere Radio, a six-hour broadcast and accompanying zine exploring a collection of cassettes housed at Diffrakt Centre for Theoretical Periphery. SPDM has recently performed (under various monikers) at Bar Neun, Roter Salon, and 90mil. They are currently working on a studio album.
Michael Edwards - lusted fleeting

5 September 2026 1:00 am - 2:00 am

lusted fleeting is a 68-minute fixed-media immersive-audio piece in five parts (plus coda) with optional live on-stage speaker and lighting effects. Aesthetic promiscuity interrupted by digital discontinuities, degradations, spectral and acoustic shifts, pauses, nostalgic machine noises, and jump-cuts create a meta-narrative that breaks the suspension of disbelief and the basking in immersive sound. Many of lusted fleeting's rhythmically-focused sections were generated by algorithms extrapolated from one-dimensional cellular automata, in particular the so-called Wolfram Codes. Text is used on several levels, both in the foreground with clearly-audible spoken words and in the background as barely-audible, highly-processed hints of human presence.

Artist bio:

I'm a composer, improvisor, software developer, and since 2017 Professor of Electronic Composition at ICEM, Folkwang University of the Arts, Essen, Germany. I'm the programmer of the slippery chicken algorithmic composition package. My compositional interests lie mainly in the development of structures for hybrid electro-instrumental pieces through the integration of algorithmically produced scored materials with similarly generated computer-processed sound.

https://michael-edwards.org
blog: https://michael-edwards.org/wp
Lorie Ballage, Mathias Loose - Bus 59

5 September 2026 2:00 am - 2:30 am

BUS 59 is the first outcome of Take to the Road, a collaboration between artist Lorie Ballage and composer Mathias Loose. The 18-minute audio piece unfolds as a guided meditation set within a rainy urban landscape, drawing listeners into a sensory and emotional journey. Through layered narration, concrete sounds, ambient textures, and carefully composed musical cues, the work evokes states of frustration, impatience, disorientation, and quiet release. Its sonic choreography amplifies the physicality of rain, movement, and urban noise, transforming everyday disruptions into moments of heightened awareness. Centered on themes of surrender and acceptance, BUS 59 invites listeners to reflect on the rhythms that govern contemporary life. By embracing unexpected turns and relinquishing control, the piece creates a space for contemplation—where chaos and harmony coexist—and encourages a deeper understanding of the self within the wider emotional and societal landscape.

Artist bio:

Lorie Ballage (FR/NO) is a Bergen-based visual artist whose practice explores watery utopias, emotional tension, and the poetics of surrender. Working across ceramic installation, sound, and text, she creates immersive environments that invite introspection. She holds an MFA from the Art Academy in Bergen and exhibits widely across Europe.
Mathias Loose (DK) is a Copenhagen-based composer and sound artist blending electronic and analogue textures into emotionally rich sonic worlds. His work spans film, performance, and spatial sound installations. He holds a Master of Music in Film Composition from the Danish National Academy of Music and presents work internationally.

Website/social links Lorie Ballage:
https://lorieballage.com/
https://www.instagram.com/lorieballage/?hl=en
Roberto D'Ugo Junior - But now there are silences (Mas agora há silêncios)

5 September 2026 2:30 am - 3:00 am

Composed in 2026, the piece recycles my own voice – recovered from an old poetic podcast about John Cage – subjecting it to electroacoustic processes that transform sound remnants into a landscape of silences, noises, and latent rhythms. The work explores the notions of surplus, discarding and the symbolic reuse of speech, converting vocal leftovers into new forms of listening and meaning. In a way, the result resembles a sound “frottage,” whose figures derive from the electronic manipulation of the harmonics present in my voice. The semantic aspect is relegated to a subliminal instance. In general, the piece is a kind of lo-fi ambient music, generated from fragments of a pre-recorded speech, with the Portuguese words rendered almost imperceptible. Despite the prevailing discreet and hypnotic atmosphere, the work contains a few contrasting and dramatic passages – brief noisy commutations. One might suspects a bored demiurge, fond of deviations.

Artist bio:

Roberto D'Ugo Junior is a brazilian artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism. One of the main features of his work is the ritualistic repetition of speech residues and fragments of field recordings. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at the Faculdade Cásper Líbero.

https://www.instagram.com/dugominimal_radio/
https://soundcloud.com/user-48062083-271779683
Rundfunkorchestra - Sonic traces in a garden of longing

5 September 2026 3:00 am - 4:00 am

Sonic traces in a garden of longing is a one-hour, live-to-tape radio performance by Rundfunkorchestra, produced for a dedicated broadcast slot and recorded remotely as an ensemble.

A score shapes the hour with a clear temporal architecture while deliberately leaving space for improvisation and individual decisions. Migration is approached not as a story but as a shifting network of sonic relations in three movements—Language/Home, Borders/Deterritorialisation, Movement—punctuated by solo passages. The material draws from the orchestra’s own recordings and archives: voice and multilingual traces, fractured music, animal worlds, the human world, nature.

Refusing a single “red thread,” the work treats transmission itself as a compositional device: through the curtain of the radio wave, background becomes foreground, inviting attention to focus, drift, return, and drift again.

In this way, migration hints toward otherness—that which is around us, which we always want to grasp, yet can never fully hold.

Artist bio:

Rundfunkorchestra is a loose collective of sound artists based around Weimar, Dresden, Leipzig and Linz, working “radio-first” across broadcast, installation, and live performance. Created by students of the "Experimental Radio" professorship at Bauhaus University Weimar, they not only focus on audio performances themselves. For example, they developed radiophonic instruments and formats—such as the portable FM performance system Funkstern Plus—and have presented works with stations and festivals including Radio CORAX, Radio Helsinki, and Radio Elsewhere and also Radiophrenia.

Website/social links

https://rundfunkorchestra.org
https://konrad-behr.de/2023/11/13/funkstern-plus-gewinnt-saechsischen-staatspreis-fuer-design/
https://www.instagram.com/rundfunkorchestra?utmsource=igwebbuttonshare_sheet&igsh=ZDNlZDc0MzIxNw==
Jonty Harrison - Going / Places (2015)

5 September 2026 4:00 am - 5:00 am

– dedicated to Ali, Clare and Emma An evocation of places and the means of reaching them. The musical ‘scenes’ (some almost reportage, others more fanciful) are artificially constructed but all have their roots in the real world. We move erratically between locations in Europe, Iceland, Australia, North America, North Africa and Asia, with the means of travel (trains, cars, planes, ships) lurking almost throughout. But the logic of the narrative (if there is one) does not lie in geographical connections or distances but in the ‘sonic’ journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within my recorded material. My habit of always carrying sound recording equipment started in the early 1990s when I became interested in capturing everyday sonic events that somehow indicated their geographical location. One day, when I was recording a journey on the London Underground, a lost overseas visitor asked me directions – that incident gave me the idea for a piece based on the broad theme of travel, and the sense of disorientation, even alienation, it can engender. I have amassed quite a sound library over the past 25 years, but only started to investigate these materials methodically in 2014, with three related works: Hidden Vistas (a 20-channel gallery piece, premiered at the Ikon Gallery, Birmingham); Espaces cachés (a 30-channel concert work, commissioned by the Maison des arts sonores, Montpellier and premiered at the Klang! Electroacoustique Festival in Montpellier); and Secret Horizons (a 14-channel installation, composed for the RBSA Gallery, Birmingham as part of the Birmingham Sculpture Trail). My approach in these works was to present the material, but in a way that, given the geographical disparity of some of the concurrently sounding materials, would be impossible in ‘real life’ – we cannot, physically, be in two places at once, but it is entirely possible in the aural domain, especially if recognition and personal memory are evoked and involved. Large loudspeaker arrays, often in different rooms or parts of a space, aided the illusion I was trying to create. I felt, however, that I wanted to subject this material to a more ‘in-depth’ acousmatic investigation, so was delighted when Pierre Alexandre Tremblay, one of my former PhD students at Birmingham and now Professor of Music at Huddersfield, asked me to compose 60-minute multi-channel work when I retired – it was the perfect opportunity. A Leverhulme Emeritus Fellowship enabled me to make field recording trips to Australia and Iceland, and supported the development of multi-channel signal processing software; the National Lottery, via an Arts Council England Grants for the Arts award, supported the period of composition. Going / Places is not so much a piece as an ongoing project – what you will hear today is the story so far. I intend to carry on travelling, recording new materials that will undoubtedly demand and deserve to participate in future versions. Going / Places – a ‘rough guide’ I thought it might be useful to offer some ‘signposts’ (this is a project about travel, after all!) – not to tell you what you should be hearing, but simply to enhance and complement your listening experience (and to give you something else to do if you get bored!). The musical moments or ‘scenes’ that you will hear (some clearly delineated, others overlapping) are all completely artificially constructed; some border on reportage or documentary, others are more fanciful – but they all have their origins in specific locations. Telling you what and where these locations might be does not, I hope, detract from the aural experience. We begin and end in Italy, my second home. Between these scenes – one implying imminent motion, the other more restful and tranquil – we flit erratically and unpredictably between other locations in Europe, Iceland, Australasia, North America, North Africa and parts of Asia, and the means of travel (trains, cars, planes, ships, etc) are lurking almost throughout. But the logic of the narrative (if there is one) does not lie in the geographical connections or distances but in the sonic journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within this huge range of material. I hope you enjoy the ride. I owe huge thanks to a large number of people and organisations for their contributions to this work and their assistance in its creation: Thanks to: The National Lottery/Arts Council England, The Leverhulme Foundation, Pierre Alexandre Tremblay and the Huddersfield Contemporary Music Festival, Joe Klingler, Elainie Lillios and Michael Thompson, Alex Harker and his students, James Carpenter, Chris Tarren, Lisa Whistlecroft and Steve Benner, David Hirst – and my wife, Alison Warne. Artist bio: Jonty Harrison (1952) studied at the University of York, before working at the National Theatre and City University, London. In 1980 he joined the University of Birmingham, where he directed the Electroacoustic Music Studios and BEAST. He retired in 2014 and is now Emeritus Professor of Composition and Electroacoustic Music. Gastprofessur, TU, Berlin (2010); Leverhulme Emeritus Fellow (2014-15). Compositeur Associé, Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France (2014–). He has received many commissions and prizes internationally, and his work appears on four solo albums (empreintes DIGITALes, Montreal) and several compilations. https://electrocd.com/en/artiste/harrisonjo/JontyHarrison
Anne Lepère - Nuages (Clouds)

5 September 2026 5:00 am - 6:00 am

Clouds is a sound fiction unfolding between sky and earth. Imaginary beings and animals guide our steps through a sky in motion. Each layer has its own distinct character: Cumulus, Stratus, and Cirrus invite us to navigate their unique densities, colors, and musicalities. The air—sometimes warm, sometimes cold—lifts us to shifting heights, revealing cloud-poems, clusters of droplets with floating phrasing.

Moods are like a changeable sky. No one lives under a perfectly uniform sky, nor one that is entirely grey or blue; it reminds us of impermanence.

And you—what color is your sky today?

Artist bio:

Anne Lepère is a sound artist, composer, and radio producer whose work explores the poetry of everyday life between urban and rural spaces. Trained in Brussels hubs such as ACSR and at Royaumont, she has been creating radiophonic pieces, music, and sound design for theatre, dance, performance, and film since 2013. A recipient of several awards, she authored Autopoïèse (2019) and Area (2022), innovative works blending documentary, poetry, and explorations of time. In 2025, she completes Nuages, a new long-form radiophonic piece produced by Babelfish, ACSR and Semi-Silent, combining the sonic score of clouds with collective writing.

Website/social links

http://www.annelepere.net/
https://soundcloud.com/anne-lepere
https://www.instagram.com/anne_lepere/
Julio César Palacio - What about China?

5 September 2026 6:00 am - 7:00 am

This piece is made with field recordings in one of the most incredible places I have ever visited and listen to. The province of Guizhou in southern China, in its beautiful rural villages, where various ancient dialects are spoken, such as KAM, which can be heard in the recordings. These are places that change your life because they remind you of the love for the land and the harmony between humans and nature.
In the recordings, you can hear the toads and frogs in the rice fields, the cicadas, all singing at tremendous volume in the vastness of those mountain valleys, the weavers at their beautiful traditional looms, villagers singing together, parties, laughter... For me, this is perhaps the most unique place I have ever been listening to and field recording.

Artist bio:

Julio César Palacio is an Venezuelan-born, Barcelona-based artist, researcher, educator, and composer. His sonic practice focuses on the study of acoustic phenomena, listening as a community practice, the relationship of sound in identity and collective memory, oral history, noise pollution and the impact of human beings on nature, the study of bio-acoustics and the analysis of sound DATA as a material for awareness and conservation of the environment and his soundscape, understood in the context of today's climate crisis and instability.

Website/social links

https://suncolor.info/
https://www.instagram.com/juliocesarpalacio/
La Pesch - Conservation Conversation. A Sound Essay.

5 September 2026 7:00 am - 7:30 am

How to approach a new place? And what to take home from it? The rural area of Tescani in Romanian Moldavia is characterized by reverberating sounds waving between hills, farming, and plenty of dogs. Up the hill on the edge of the village lies a small museum in honor of the Romanian composer George Enescu. A mansion with its own little forest. But the grandeur of the past shows cracks. Humidity sneaks up the walls. Red, aristocratic patterned carpet hosts historic notes, furnitures, and instruments. Mice ate the hammer felt of the piano – the piano on which Enescu finished his opera Oedipe. Today it is untouchable. Packs of visitors come in coaches, have a quick look, bath in some mellow notes, and climb their vehicle again to take off. What is conserved along the way? The piece follows, questions, deconstructs, and reconstructs the process of conservation.

Artist bio:

La Pesch lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere or emotional quality. She sets in scene encounters creating contact points creating contact points in dialogue.

Website/social links

https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch
Mingus (Gustavo Minian) & Maru Waldhuter - De/Cierto: A Mineral Symphony of the Void

5 September 2026 7:30 am - 8:00 am

De/Cierto is a sound essay investigating the construction of the "desert" as a political operation of emptying. The piece traces a genealogy of the void, linking the Argentine State's 1878 foundational genocide ("Conquest of the Desert") with contemporary logics of mineral extractivism.

The project is rooted in media archaeology: it employs "tuning stones" (quartz and lithium) based on galena radio principles to capture the radio frequency spectrum without external power sources. This technique enables a physical interaction with territorial vibration and the acoustics of the air. The work is structured as a live non-fiction sound piece, processing and remixing records from the National General Archive alongside field recordings and choral testimonies. De/Cierto functions as a sonic archaeology that intervenes in the frequencies of historically silenced territories, exploring the radio medium as a site of tension between the documentary archive and geological materiality.

Artist bios:

Maru Waldhüter is a sociologist and sound producer focused on documentary narratives and social research. She has produced non-fiction series for the Rosa Luxemburg Foundation and CELS, and was a producer at FM La Tribu for eight years. Her work explores the intersection of regional politics and sound memory.

MINGUS / IDOSÔIDOS is a sound artist and researcher specializing in field recordings and media archaeology. He co-directs REMEZCLATUCIUDAD and has documented oralities across Ibero-America for platforms like Radio 3 (Spain) and Radio Tsonami (Chile). His practice investigates the auditory perception of territories and the materiality of archives.

Website/social links

https://linktr.ee/maru.dobleu?utmsource=ig&utmmedium=social&utmcontent=linkinbio
https://linktr.ee/idosoidos?utmsource=ig&utmmedium=social&utmcontent=linkinbio

https://www.instagram.com/marudobleu/
https://www.instagram.com/mmmmiiiinnnngggguuuussss/
Radiophrenia Shorts 1A

5 September 2026 8:00 am - 8:30 am

1 A Ranic - Vocal Hymn (4:58)
2 Female Laptop Orchestra (FLO) - From this world to... (10:24)
3 La Pesch - Mouth without Words (5:27)

4 Faruk Mehić - ePrelude Op. 18 No. 3 (3:18)
5 Medio Mutante - Williams Mix 23A (4:16)

1) A Ranic - Vocal Hymn

Inspired by a single chord, this track, "Vocal Hymn" is comprised of nearly 20 individual vocal tracks all sung and arranged by A Ranic. Vocal Hymn explores the discomfort of dissonance by using long meandering vocal melodies which twist and intertwine with each other, falling in and out of harmony.

A Ranic is a queer artist working out of Detroit, Michigan. Their work explores themes of twinship, gender, and the strangeness of having a body. Ranic's work expands across many mediums, including but not limited to: performance art, drag, clowning, sound and video art, printmaking, fiber arts, and installation.

https://www.instagram.com/nibacari/

2) Female Laptop Orchestra (FLO) - From this world to...

This is a proposal for a fixed composition, scheduled to be mixed and sent to Radiophrenia on March 7th, 2026. This piece will revolve around one question: "We are sending a message to space. It is likely that we will be exctinct by the time aliens hear it. What do you want to say?"
Each of us will answer in our mother tongues, and these spoken words will be processed through an ethical AI tool to create our base track. Geographically distributed FLO performers will each use the opensource Hi Audio platform to record asynchronously additionnal musical tracks on top of the previous composition. This will allow us to explore ideas such as the state of our world, humanity's posture within our planet and the universe, our hopes for the future, our prides, our disappointments, our cultures and our values.

The Female Laptop Orchestra, founded in 2014 by Nela Brown, is an international ensemble of professional musicians, visual artists, and researchers working at the intersection of music, technology, and distributed audiovisual performance. By bridging time zones, continents, political boundaries and languages, FLO explores telematic intercultural collaboration and raises awareness of the underrepresentation of women in the sound and music computing fields. Performers for this piece are: Nela Brown (HR), Léa Ikkache (FR), Alayna Hughes (US), Maria Mannone (IT), Magdalena Chudy (PL), Ariane Stolfi (BR), Sonia Wilkie (AU), Alayna Hughes (US), Silvia Binda Heiserova (SK), Maria Aguado (SP), Sonia Wilkie (AU).

https://femalelaptoporchestra.wordpress.com/performances/

3) La Pesch - Mouth without Words

What are we listening to? A forest at night? A melting glacier? A choir of wordless mouths and bodies trying to express their relationship to the world and with one another. This is what remains when the world leaves us speechless with a strong desire to express.

La Pesch, lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere. She sets in scene encounters creating contact points in dialogue.

https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch

4) Faruk Mehić - ePrelude Op. 18 No. 3

ePrelude Op. 18 No. 3 (2025) is a composition in which the composer explores the creative possibilities of electronics and the electronic manipulation of sound. The piece was premiered at the Electronic Music Concert as part of the anniversary programme of the Student Cultural Centre, University of Banja Luka, and was subsequently featured in the Metapsychosis journal in the article Spectral Portraits in Transit by Michael Eisenberg.

Faruk Mehić is a composer from Bosnia and Herzegovina. He completed his bachelor’s studies in composition under the mentorship of professor Tatjana Milošević Mijanović, DMA, at the Academy of Arts of the University of Banja Luka, where he is currently pursuing his master’s studies in composition. His works have been performed across Bosnia and Herzegovina, Montenegro, Serbia, Albania, Slovenia, Croatia, Italy, Denmark, and The United States of America.

https://farukmehic.com/

5) Medio Mutante - Williams Mix 23A

In 2023 Medio Mutante became the first artist to realize a new version of John Cage's "Williams Mix" for magnetic tape using the original 1952 score. The score is 192 pages long, covers 8 channels of sound, more than 600 sound samples and required over 10,000 tape splices.

The finished piece is available as a boxed set of 8 records of the individual channels, or digitally in mixed and individual channel versions.

A detailed documentary video of the process is available on Medio Mutante's YouTube channel: youtu.be/h1G8EljAfPA
https://mediomutante.bandcamp.com/album/john-cage-williams-mix-23a

A band.

http://www.mediomutante.com
https://www.instagram.com/mediomutante.mp3
Radiophrenia Shorts 1B

5 September 2026 8:30 am - 9:00 am

1 Yeudiel Infante Esquivel - GLOSOLAL-IA FM (11:00)
2 Edward Ruchalski - Radio Voices 3 (I'm Here and There) (7:24)
3 Susan Brewster - The Nature of Persistence and the Other Way Round (7:31)

4 Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean (3:09)

1) Yeudiel Infante Esquivel - GLOSOLAL-IA FM

GLOSOLAL-IA FM presents voices that no longer belong to any real language; they emerge from the failure of artificial intelligences attempting to restore messages beyond their capacity for interpretation. Conceived for broadcast, the work is a binaural radio art piece in the format of a radio magazine, premiered on Radio UNAM 96.1 FM (Mexico City) on 14 February 2026. It incorporates sound documentary segments exploring impossible insects, fictional advertisements for unimaginable products, non-conventional musical passages, and capsules that construct sonic coherence without semantic meaning.
It is, perhaps, a radio signal from an alternative reality; yet at the same time it is a metaphor for our own—of media that exclude and of silenced voices. This language is illegible to us even though it once articulated the reality we inhabit, much like marginalized voices the system does not know how to hear. What do the languages silenced by technology sound like?

Yeudiel Infante is a Mexican composer and sound artist. His work has been presented at major venues and festivals in Mexico, United States, and Europe—including the Palacio de Bellas Artes, Festival Internacional Cervantino, the Kennedy Center, and the Théâtre Public de Montreuil—and has received recognition from institutions such as the Centro Mexicano para la Música y las Artes Sonoras and the Bienal Internacional de Radio. In 2024, he served as Coordinator of the 46 Foro Internacional de Música Nueva organized by the Instituto Nacional de Bellas Artes y Literatura.

https://www.instagram.com/yeudielinfante
https://x.com/yeudielinfante

2) Edward Ruchalski - Radio Voices 3 (I'm Here and There)

Radio Voices (3) was created specifically for Radiophrenia’s open call. The source material was recorded from a short-wave receiver via the Wide-band WebSDR site, University of Twente. The various beeps, noises and tones, and spoken words were processed by EQ, filters, and pitch shifting. Additional, sound sources include bells and percussion.
In my Radio Voices project, I hope to present an imaginary world of our world in a future that no longer includes human beings. However odd this may seem, in this future, human-made sounds from the past are still present, dominant and floating in the atmosphere.
This piece made from radio transmitted sounds is intended for radio broadcast.

Edward Ruchalski is a composer, sound artist and field recordist. His compositions have been performed at the Kennedy Center, Lincoln Center, Mass MoCA, Symphony Space on Broadway and elsewhere. In 2020, Ruchalski’s acousmatic work, “Refined Localities”, was selected for inclusion in the exhibition, Audiosphere, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. Ruchalski has been an artist in residence at Wave Farm in Acra, N.Y. During the residency he created a concept for a radio show with co-host Stephen Bradley called Bells, Bugs, Whispers & Plinks (WGXC 90.7 FM).

edwardruchalski.com
edwardruchalski.bandcamp.com

3) Susan Brewster - The Nature of Persistence and the Other Way Round

Thinking about recent discoveries of fossilised human footprints, the idea of aeonic imprints, something lasting indefinitely, from fossils to DNA, sparked many images in creating this piece. Whether a footprint in the sand, or an unconscious memory, it is fascinating that an event might suddenly, or gradually, and unexpectedly reveal clearly what has been hidden for a long, long time. An ambisonic composition, “ The Nature of Persistence and the Other Way Round” aspires to place the listener within an immersive sound environment that is familiar but alien at the same time. Textures are created by digital manipulation of a variety of samples from acoustic instruments including flute, drums, cello and mouth harp. As a scalable format, the piece could be configured and decoded to fit different surround speaker systems whereby the virtual sound sphere is adapted accordingly.

Susan is from the USA living in London, UK. Her compositions encompass a spectrum of musical styles, traditions and concepts. Her electroacoustic work has been awarded and premiered at international festivals. As an invited guest composer at the London Gamelan Composers Forum, ‘Ears to Earth’ for Gamelan and electronics, was premiered at the School of Oriental and African Studies (SOAS), London. Compositions are experimental and abstract, suggesting stories or conundrums. Scores range from conventional notation to graphic designs prompting improvisation. Currently she focusses on creating compositions for ambisonic, or immersive environments, exploring themes of the human relationship to technology.

https://www.linkedin.com/in/susanbrewster
https://www.instagram.com/susanbrewster/

4) Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean

These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers.

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com
Antje Vowinckel - Opdoppling: recycling ritual in four parts

5 September 2026 9:00 am - 9:45 am

Opdoppling recycling ritual in four parts Production: AV, 2023 I Listening/Collecting II Processing III Recycling IV Upgrade Percussionists in part IV: Burkhard Beins, Emilio Gordoa, Els Vandeweyer, Antje Vowinckel; soprano saxophone Antje Vowinckel Premier: 16. 12.2023, SWR 2 Pop shreds - without beginning, without ending - boom past from cars and Bluetooth boxes, hiss from mobile phone headphones, colonize public space. Global songs, composed somewhere, sometime, practiced, sung, mixed, mastered. Now dismembered, compressed and flattened; thrown in front of our ears. – Do they really blow by? Evaporate? Or do they drift again, somewhere in us, like plastic in the sea? Treatment I For the first part, I listened to music leftovers flying around, collected them and embedded them in a music I composed myself. These remnants are either already "naturally" filtered during the recording (because only the trebles penetrate from a headphone to the outside or only the bass from a passing car), or I filtered afterwards. The Doppler effect is also natural in many cases, because I have moved quickly past the sound source or the sound source has moved past me. (In summer on Tempelhofer Feld, you can easily find twenty private picnics, each with its own boom boxes, next to each other. I kept walking past it.) In some cases, I have increased the Doppler effect afterwards. Due to the filtering and the Doppler effect, most of the snippets are no longer recognizable. There are a few exceptions that can possibly still be assigned. But they are so short that it doesn't matter under copyright law. Location: Berlin Neukölln and Tempelhofer Feld Instrumental sounds: recorded various acoustic instruments themselves and digitally processed: vibraphone, harmonium, soprano saxophone. In addition, individual accordion tones, recorded by Anna-Katharina Schau; they only occur in edited form. Embedded in this layering are the pop music remnants. II The pop remnants end up in the sounds of the E-Werk Luckenwalde. Recording: August 2022. (https://www.kunststrom.com/jetzt-wechseln.html) This E-Werk sounds like a sound installation in itself. I changed these sounds only a little and put the pop remnants in and processed them further. III I transcribed the looped rhythms of the recorded pop remnants (see p. 4/5), replayed them with stones and sticks on wood, stone, metal barriers and branches in nature. They mix with free rhythms and instrumental sounds from the first part. IV For the fourth part, I went to a remote Lost Place with three performers. There we played the looped rhythms in different rooms with a boom box and then played them on the surfaces of the rooms with percussion mallets. Water pipes protruding from the walls, for example, sound like an untuned vibraphone, plus metal grilles, shards, objects lying around in rooms of different sizes and reverberations. The rhythms are first strictly imitated, then transition into improvisation. On another day I recorded soprano saxophone sounds myself in the Lost Place. At first, long-drawn notes with a slight downward movement like a very slow Doppler effect. Then several notes in quick succession, the frequencies of which all reverberate for a long time in the large room. In the arrangement, the short initial notes were cut off, so that only the polyphonic reverberation can be heard. The harmonizer effect that is created in this way is natural. Place: Lost Place in the north of Brandenburg. Biography: Antje Vowinckel is a Berlin based composer, radio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin. For her compositions with sound bites she developed the methodes of Automatic Speaking and Dialect-Karaoke. Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece Call me Yesterday was broadcast and presented in 18 countries. Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize (see below). https://antjevowinckel.de/en
Charo Calvo - Ricochet

5 September 2026 9:45 am - 10:00 am

"Wind is song
Of whom and of what?
Of the sword’s longing
to be the word.
I have died, I have died,
and blood gushed
in a broad torrent over armour.
I have awoken, changed, again
casting my warrior’s gaze over you."

Velimir Khelbnikov, 1918

Produced Musiques et Recherches, October 2025

Source of sound material: Field recording made in the Ukrainian trenches of Donbass in 2014, during the start of the Russian offensive.

Poem – ‘Wind is song’ by Russian poet Velimir Khelbnikov – 1918
Voice – Natalia Pschenitschnikova

In 2014, I had access to a very unsettling recording. It was made by a friend in the trenches of the Ukrainian army in the midst of the war by the Russian army in Donbass. Unfortunately, 15 years later, this war is still ongoing. This audio document, captured the clatter of voices and weapons of war operated by men we call soldiers. It touched me indirectly, without penetrating me, but rebounded off like a stone skimming across water. In the safe space of the studio, using these traces of violent reality, I wanted to construct similar sonic textures in time, for abruptly sweep them away with the pacifist poem “Wind is song” by the Russian poet Velimir Khlebnikov, in which a dead soldier wakes up and gazes at us. It was written in 1918, on the eve of the turmoil and bloodshed that followed the revolution. Khlebnikov dreamed ‘of the sword’s longing to be the word’.
Machine Listening - Voyce Walkr

5 September 2026 10:00 am - 10:30 am

Voyce Walkr by Machine Listening is a reimagining of Russel Hoban’s post-apocalyptic 1980 novel Riddley Walker, updated, reworked, and distilled in response to our technological present. The work recasts Hoban’s nuclear devastation as a collapse brought on by carbon capitalism and techno-solutionism. The environment is ravaged, language has warped and degraded, and computing and other advanced technologies have vanished. Society is now organised around a myth about the causes of the collapse – The User Story – broadcast daily over a rudimentary radio network made from salvaged parts. This is the ‘voyce walking’ of the work’s title. The piece evokes radio’s various golden age(s) at the same time as the story imagines radio as a crude post-apocalyptic medium, far in the future. Time has been deliberately scrambled. Cloned children tell of coming ‘infomayshun barms’ on vintage radios. Old stories of dystopian futures tuned in to the anxieties of the present.

Artist bio:

Machine Listening is a platform for collaborative research and artistic experimentation, founded in 2020 by Sean Dockray, James Parker, and Joel Stern in order to subject automated systems to political and aesthetic scrutiny. The collective works across writing, installation, performance, music, software, curation, pedagogy, and radio. Our work has been presented at major institutions including the Australian Centre for Contemporary Art, Cricoteka Tadeusz Kantor Museum (Kraków), Warsaw Museum of Modern Art, Galerie Nord (Berlin), the National Communication Museum, RMIT Design Hub, and MUMA. And we have performed at Unsound Festival, Soft Centre, and Melbourne Recital Centre, among others.

https://machinelistening.exposed/
Suk Jun Kim - Syrian Humming Project

5 September 2026 10:30 am - 11:00 am

Hums are never just about songs. They are always more about stories, memories, feelings of you and me.

When we asked displaced Syrian families to share with us their hums of songs and tunes about food and meals, their hums were more than about food. They were for people with whom they shared meals.

These are hums for homesickness, love, working in the field, trading, raising chicken, preparing meals, having coffee, religious devotion, love for the nation and their people, nostalgia and commemoration, and their particular challenges during the early months of the COVID-19 pandemic.

These are beautiful and heart-warming hums, and they deserve our listening.

As a part of GCRF-funded project called Syrian Food Futures, Syrian Humming Project is a sound art project that aims to tap into the personal and collective memories on food and daily life of displaced Syrian people through humming.

Syrian Humming Project continues to evolve since its pilot project which ran between 2019-2020. For the pilot project, we asked Syrian families displaced in various countries, including Turkey, Germany, France, and Scotland to send their hums and songs online. You can listen to snippets of these hums from Syrian Humming.

Following these hums, Suk-Jun Kim created ten short humming pieces based on some of them. These short humming pieces also uses images and quotes from From the Field, another sister project on Food Security in Syria and the Impact of COVID-19 on displaced Syrian communities.

Biography:
Suk-JunKim is a South Korean composer, sound artist and researcher/professor at theUniversity of Aberdeen, Scotland, UK. He has published two books, Humming (TheStudy of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. Hisresearch focuses on sound studies, immersive sound, phenomenological approachesto listening, electroacoustic music, space and place. Having been awarded firstprizes in international electronic compositions, Kim was a resident composer atArtists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at theUniversity of Aberdeen (2010). In 2023, he initiated a large-scale soundstudies and sound art project Futures ofListening by collaborating with the National Asian Culture Center (ACC) inSouth Korea and has led its Sound Lab Team. Between 2023-24, He was thePrincipal Investigator for Futures ofListening: Water Knowledge from Two Cities, an ISPF ODA challenge-orientedresearch project funded by the British Academy between 2024-2026.
http://reddoorsound.com/

Piotr Pawlak - Forest / Las /

5 September 2026 11:00 am - 11:30 am

Forest is a sound work by Piotr Pawlak, created in response to the humanitarian crisis on the Polish–Belarusian border. Forest is a work that, in the context of the ongoing debate on migration and hospitality, serves as a document of the dramatic events experienced by specific individuals. Forest premiered during a performance (live act) at Gate No. 2 of the Gdańsk Shipyard. An updated audio version was later produced and broadcast on Radio Kapitał during the Christmas Eve dinner on 24 December 2021.
Forest won the Grand Prize at the Audionomia Award festival in 2022. The work was presented at the exhibition Kroki / Steps at BWA Wrocław in 2024, and broadcast on German radio Deutschlandradio in the Kurzstrecke program.
In 2025, the work was acquired for the Gdańsk Collection of Contemporary Art.

Artist bio:

An artist associated with the Tricity music scene. He creates music for theatre, film, ballet, exhibitions, and multimedia performances. He co-founded the bands Kury, Łoskot, Kaszebe, YeShe, and Bielizna. He has participated in projects such as John Zorn – Cobra He has produced several dozen albums by various artists. Winner of the Grand Prix Audionomia Award 2022 for the work Forest, which was included in the Gdańsk Collection of Contemporary Art. Composer of the music for the performance Wymurzanie wolności (Bricking Up Freedom), created to mark the 40th anniversary of the August Agreements in Gdańsk.

Website/social links

https://www.facebook.com/profile.php?id=100011343023703
Buffer Zone

5 September 2026 11:30 am - 12:00 pm

1) Kassel Jaeger aka François J. Bonnet - Shifted in Dreams (4:26)
2) Suk-Jun Kim - Thin Lines (10:55) : 6. Thin Lines (2018)
3) Thomas Lu - xoxox0xo (3:00)

1) Kassel Jaeger aka François J. Bonnet - Shifted in Dreams

From the album 'Shifted in Dreams'

2) Suk-Jun Kim - Thin Lines: 6. Thin Lines (2018)

Thin Lines, commissioned by and premiered at the First Jeju Contemporary Music Festival in 2018, is an ambisonic piece that explores the persistent patterns of hums and strange spaces that they create.

Biog
Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

3) Thomas Lu - xoxox0xo

This piece is a portrait of a loved one – told through lines from her emails and e-blasts between 2009 to 2010. Each line you hear is pulled straight from this person's emails, their chosen form of communication. The work attempts to show an effusive, sometimes saccharine, individual learning how to best navigate between sharing difficult information while maintaining their youthful and optimistic demeanor. At the core of this piece, I wanted to demonstrate the push and pull of connection. The tension between our human desire to stay in touch with our communities, friends, and family, but also with ourselves as we navigate life’s challenges and triumphs.

Artist bio: Thomas Lu is a Vietnamese-American audio producer, story editor, and sound designer based in Washington, DC. His artistic and journalistic work aims to explore the messiness of being human — our behaviors, our thoughts, our relationships — as well as stories about identity, arts and entertainment, culture, and disability. You can find his work at The Washington Post, NPR, Vox, HBO, and Bloomberg.

Website/social links https://www.thomasuylu.com/
https://www.linkedin.com/in/thomasuylu/
https://www.instagram.com/thomasuylu/
Antje Vowinckel - Sisyphon

5 September 2026 12:00 pm - 12:30 pm

Composition with international call centre voices.

Being stuck on hold, waiting to eventually speak with a representative, is an experience everyone knows—yet no one shares. You press your ear against the receiver and keep your mouth shut so as not to miss that crucial moment. We all hear and say the exact same things—much like at a concert, yet in total isolation. It’s time, to give it a public space. Antje Vowinckel has listened to many recorded messages before she was finally connected.

The research for the project was kindly supported by Musikfonds, Germany. A Radiophrenia commission produced with the support of Creative Scotland.

Vocal sounds: Antje Vowinckel, wind ensemble: “trigger” (Chris Heenan (ccl), Matthias Müller (tb), Nils Ostendorf (tp).

'Sisyphon' is a co-commission between Radiophrenia and Kunstradio produced with the support of Creative Scotland.

Biography:
Antje Vowinckel is a Berlin based composer, radio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin.

For her compositions with sound bites she developed the methodes of Automatic Speaking and Dialect-Karaoke. Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece Call me Yesterday was broadcast and presented in 18 countries.

Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize.

https://antjevowinckel.de/en
Khamoosh - Timezones Tehran: A Gateway Wandering Beyond

5 September 2026 12:30 pm - 1:00 pm

Episode 22 of the TIMEZONES podcast series, initiated and produced by Norient, comes from Tehran and is an introspection on where an artist or artistic journey finds its existence – where it starts and ends, how it emerges, unfolds, or even falls into silence. Produced by the Khamoosh collective and participatory research project, this episode features artists of diverse communities who reflect on their ways of living and on their practice.
Tehran is at the crossroads for the stories told in this episode – whether as a place to return to or escape from. Members of Khamoosh reflect on the question: Who is an artist? They do so through letters, conversations, interviews, and by holding space for one another. Sonic elements emerge from a collective effort, drawing from the group’s rich sonic archive.

Artist bio:

Khamoosh is a participatory artistic research project that mediates conservation and restoration by exploring the sonic heritage of Iran through recorded sounds of everyday life; sounds less heard or even silenced. Their methodology is guided by an ongoing process of learning by doing, community-based participation, collective artistic practice, and research as a network. They come together in the shared intimacy of sound through the tools of technology and time. Hearing the relationship between sound and language is an ongoing process formed by both well-known and unknown contributors as well as by non-humans, broadening the listening sphere of their extended collective.

Website/social links

https://norient.com/index.php/khamoosh/tehran-gateway-wandering-beyond?special=275
https://norient.com/
https://www.instagram.com/norientsounds/
https://www.instagram.com/khamooshsonicheritage/
Radiophrenia Shorts 17A

5 September 2026 1:00 pm - 1:30 pm

1 Duncan MacLeod - The Metalization of a Dream (8:53)
2 Tianjun Li - Breathe, and you are home (4:34)

3 Sabrina Berenice Llorens - Quizás estoy dentro de un trueno (17:20)

1) Duncan MacLeod - The Metalization of a Dream

The Metalization of a Dream is an open form sound-work responding to the dada and surrealist-inspired collages of Eduardo Paolozzi. A pioneer of pop art, Paolozzi’s practice drew inspiration from artists that utilise similar collage and cut-up techniques such as Charles Ives and William S. Burroughs. As such, these relationships are explored within this work through John Cage’s concept of the coexistence of dissimilars, where the notion of harmoniously blended elements is eschewed in favour of collage-like juxtapositions ‘that fuse in the ear of the listener’. Like Paolozzi’s collages, this work incorporates ‘found objects’ in this case John Taverner’s In Nomine and the writings of Gertrude Stein that are reimagined, juxtaposed and intertwined with composed and indeterminate materials alongside soundscape recordings to form an equivocal sound world. Commissioned and performed by Galvanise Ensemble, with funds from Arts Council England, PRS Foundation and RVW Trust.

Duncan MacLeod is an award-winning composer, sound artist, and Professor of Sonic Arts at Glasgow School of Art. He works across concert music, sound installations, stage and participatory arts. Informed by folklore, sociopolitical issues and a deep connection to place, his practice explores human relationships with land and ecosystems in the Anthropocene. He creates works that amplify connections between culture, communities and landscape through creative sound practices. His works have been commissioned, performed and broadcast internationally, creating spaces where listeners can encounter and reflect on place, identity, heritage and the environment, and prompting more attentive, responsive ways of listening.

https://duncanmacleod.org/
https://soundcloud.com/duncan-macleod
https://www.instagram.com/
https://galvanizeensemble.co.uk/

2) Tianjun Li - Breathe, and you are home

The work is a 2-channel stereo sound work shaped by an exchange of breath between the artist and their mother, recorded separately in China and Finland. T
Breathing forms the core structure of the piece. Each inhale and exhale turns into wind, carrying hesitation, distance, and care across borders.

The work reflects the migrant experience during a complex and layered period, marked by separation, illness, restricted mobility, and ecological loss.
Within this intimate pulse are field recordings from the artist’s deforested hometown, ambient sound from a Finnish Immigration Service Point, and birdsong gathered in both countries.

Broadcast through FM and online transmission, listening becomes a dispersed but shared act, as air, voice, and signal travel together through space, forming a temporary home in sound.

Tianjun Li (CN/FI), also known as Timjune, is a Finland-based visual artist and experimental vocalist working across photography, video, sound, voice, performance, and community-based practices. Li works with synesthesia and an exceptional four-octave vocal range to create imaginative sonic-visual landscapes where more-than-human beings emerge as metaphors for socio-ecological realities. Li holds a master’s degree in Visual Cultures, Curating, and Contemporary Art, with a minor in Sound in New Media, from Aalto University.

https://timjune.com/
https://timjune.com/breathe,-and-you-are-home-(2026)
https://www.instagram.com/timjunelee

3) Sabrina Berenice Llorens - Quizás estoy dentro de un trueno

“Quizás estoy dentro de un trueno” (Perhaps I am inside a thunder) is an expanded reflection on listening and inhabiting different environments and atmospheres. The piece unfolds as an exercise in adaptation and transformation, where modes of listening to diverse sonic ecosystems turn the landscape into a new territory emotional and political. Drawing from field recordings made across different landscapes in Córdoba and Berlin, the sounds erode and collapse through loops and delays, exploring shifts and relationships between human and natural phenomena. A living territory, an identity in transit within a thunder.

Berenice Llorens is a composer, guitarist, DJ, improviser, and experimental artist.
Her practice and artistic research are rooted in the collection and reinterpretation of sounds from nature, the city, and machines, exploring relationships between humans, technologies, and their environments. She works with loops, delays, field recordings, guitar, and synthesis, developing compositions, performances, and improvisations. Llorens music moves through electroacoustic textures, psychedelic explorations of chamber prog and post-rock ideas, and the pulsating energy of techno.
She also collaborates with audiovisual artists, writers, and dancers, and produces radio shows and radio works.
Radiophrenia Shorts 17B

5 September 2026 1:30 pm - 2:00 pm

1 Jakub Malinowski - Growing into particularity (14:49)
2 Scarlett Quinn - Red World (13:31)
3 Water Feature - Various Birds - inferior merlin (1:11)

1) Jakub Malinowski - Growing into particularity

Elian and Tycjana are both from Roma origin, currently living in Grochów district of Warszawa, Poland. They describe their life in the district - growing up, working, the Roma and the broader communities. They are both at the cusp of growing into adulthood and trying to find their respective places in the world. Both of them speak fondly of local parks, gatherings and the amount of resources available. However, as they speak about the people in their current lives it seems that the idyllic picture of a tight community, as they remember it from the childhood, gives way to a bleaker one - where there's every person for themselves.

The work makes use of field recordings captured around Grochów and prepared sounds to illustrate the narrative. Original interviews were conducted by Dom Sztuki in Grochów.

Mechatronics engineer who works daily with car audio systems. His passion is everything related to sound. He engages in music production, creating sound installations, instruments, and performing concerts. He combines a technical approach with creativity, and for him, the audiosphere is more than just a carrier of information—it's a way to transcend barriers between people, non-humans, and phenomena.

https://linktr.ee/ossitika
https://www.instagram.com/big_chart

2) Scarlett Quinn - Red World

Red World is an electroacoustic/field recording/ambient composition.
Using short wave radio recordings and field recordings, Red World is an attempt to capture granular elements of humanity. It invites the listener to engage with the sound; deconstruct its layers, find nostalgia, something familiar, something distant, listen quietly.

Scarlett Quinn is a composer and sound designer whose practice centres on sound art, electroacoustic music, and interactive media systems. Inspired by artists such as Pauline Oliveros, Julius Eastman, and Cornelius Cardew, her compositions interrogate ideas of labour, gendered sound, and embodied listening. She is currently finishing her studies in Music at the University of Manchester, as well as working as a sound designer in game audio.

http://www.scarlettquinn.com
@badlyscanned

3) Water Feature - Various Birds - inferior merlin

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/
Nika Son & Pose Dia - AREAL

5 September 2026 2:00 pm - 3:00 pm

In the radio piece Areal, Nika Son and Pose Dia explore the shopping mall as a heterotopia in which consumption, leisure, and illusion intertwine. Beneath the shiny surface of this seemingly self-contained system, acoustic fractures emerge, revealing hidden non-places and transforming the labyrinth of consumption into an unsettling, surreal sonic play.
The hybrid premiere of Areal was performed live in Ulm in November 2025 and broadcasted on Radio free FM as part of the programme entartet. The work was commissioned by RR Reihe Radiostücke.

Artist bios:

Nika Son is an experimental musician, artist, film composer, curator and dj based in Hamburg and Athens. Weaving oneiric musique concrète with analog and digital synthesis, broken rhythms, voices and modulated tape, her work captures the fluid, ever-shifting nature of the night, making the familiar strange and the surreal strangely familiar.

The peculiarity of the sound worlds of Pose Dia arise from the figurative approach of Hamburg-based musician, Dj and videoartist Helena Ratka. Sounds, noises, words and voices become as much an instrument as the visual staging. Together with Sophia Kennedy she is the duo Shari Vari moving fluidly between experimental pop and club music.

Nika Son:
http://www.nikason.de
https://soundcloud.com/nikacis
https://www.instagram.com/nika__son/

Pose Dia
http://www.helenaratka.com
https://soundcloud.com/ratkat
https://www.instagram.com/pose_dia
Nandele Maguni - Kampfumo

5 September 2026 3:00 pm - 4:00 pm

Kampfumo is the sonic embodiment of movement, resistance, and memory. Conceived during Nandele Maguni’s residency at ZHdK–ICST Spatial Studio in Zurich, the album unfolds as a deep experimental journey through the layered soundscapes of Maputo. Drawing from the city’s restless energy — its engines, voices, and rhythms — Kampfumo transforms the everyday pulse of the chapa 100 into a living metaphor for collective experience.

Blending distorted electronics, field recordings, and ancestral echoes, the album navigates the space between ritual and machine, chaos and rhythm, noise and silence. Each track functions like a transport line through Maputo’s invisible geographies, carrying fragments of memory, resistance, and spiritual vibration.

Kampfumo is not just an album — it’s an auditory passage where the mechanical becomes mystical, and the city breathes through sound.

https://alreadydeadtapes.bandcamp.com/album/kampfumo

Artist bio:
Mozambican experimental producer, sound artist & live performer
Nandele Maguni (also credited as Nandele) is a Mozambican artist whose work bridges analog electronics, field-recorded soundscapes, ambient structures, and sonic ritual. Based in Maputo, with international residencies in Zurich,Rotterdam and South Africa, his creative language foregrounds texture, improvisation, and a deep-rooted Afro futurist sensibility.

He was featured in DJ Mag’s “Eight Emerging Artists You Need to Hear – August 2024”, praised for his fearless hybrid of industrial, ambient and ritualistic techno rooted in Southern African sonic memory.

https://www.instagram.com/nandelemaguni_

https://www.facebook.com/nandelemaguni

https://oroko.live/artists/nandele

https://tresorberlin.com/artist/nandele/
Radiophrenia Shorts 64A

5 September 2026 4:00 pm - 4:30 pm

1 Nayaka Farrell & Muhammad Welderahmat - Tekstil (5:52)

2 Gianluca Pompilio – Heliocline (5:51)

3 Alfredo Cerrito - S.T.U.P.M. (7:55)

4 Junchang Zhang - Stormy Plateau (5:38)
5 Chris Byrne - Red flag, White flag, Black flag (4:11)

6 j/jenn/jennifer – Here (2:48)

1) Nayaka Farrell & Muhammad Welderahmat - Tekstil

This piece is a collaborative fixed-media (stereo) sound work by 2 composers. It is made entirely from everyday sounds recorded in our own surroundings—things we usually hear without paying much attention to. Coming from different regions and backgrounds, we each have different habits of listening and different ways of working with sound. These differences naturally shape how we choose, treat, and arrange the material.Rather than trying to tell a clear story, we use everyday sounds as raw material. Through manipulation and arrangement, familiar noises are taken out of their original context and placed alongside each other, allowing new relationships to form. The work focuses on texture, timbre, and timing/momentum, and avoids traditional musical structures like melody or narrative development. By bringing sounds from different environments into one fixed composition, the piece reflects our shared process of listening together.

Muhammad Welderahmat (b. 2002, Palu) is a composer, live coder, songwriter, and improviser working across experimental music, ambient, soundscape, and free improvisation. His practice centers on environmental sound and critical engagement with social and cultural contexts. He has released Phenomenon (2023), Senyap (2025), and Menuju Beranda (2025), and is a member of Paguyuban Algorave Indonesia.

Nayaka Farrell Adinata (b. 2005, Denpasar) is a composer that explores sound experimentation and critical reflection of the relationship between familiar and unfamiliar, foreign and personal. He is currently serve as a composer in residence at the Orkes Komunitas Concordia

instagram
@naydinata ( Nayaka Farrell)
@welderahmat._ ( Welderahmat)

2) Gianluca Pompilio – Heliocline

Heliocline is a space of transition: between surface and depth, between light and darkness, between what emerges and what dissolves. The title is inspired by the concepts of thermocline and photocline, zones in which sudden changes in temperature or light occur within oceanic layers. In a similar way, Heliocline metaphorically explores the stratification of sound in the depths, where frequencies penetrate only so far before silence slowly takes over. In this threshold, sound behaves like light: it refracts, it fades, it transforms

Gianluca Pompilio is an Italian composer and sound artist. His work spans a wide range of fields, including electroacoustic composition, live electronics, experimental electronics, and sound installations. His electroacoustic works have been selected for and performed at prestigious festivals, including Ars Electronica, Ma/In, Leam, Somarumor, and Tempo Reale, and have been presented in Austria, Poland, Italy, Brazil, and Mexico. In 2025, he won 2nd prize from the Polish Society for Electroacoustic Music (PSeME) Gianluca holds a BA and MA degree in Electronic Music from the San Pietro a Majella Conservatory of Naples

http://www.gianlucapompilio.com

3) Alfredo Cerrito - S.T.U.P.M.

The idea of S.T.U.P.M stems from a single generating idea, the one that “Nothing is created, nothing is destroyed but everything is transformed”. Each audio material (entirely sampled by the artist) in this piece has the same characteristics both in the Micro and in the Macro - structure. The materials of common matrix presented in the first part, initially spaced apart, proceed towards the central part with a greater and greater frequency of appearance until they become spasmodic (all this happening through a game of panning and spatialization of sounds). At the same time, there is an additional textural plane that helps to create tension through an ever-increasing addition of frequencies that add up and through the use of contrary motions. A more extended central area gives a new light to the generating material by decanting the latter. Everything seems to stop apparently, the materials are far away in the

Alfredo Cerrito is an Italian saxophonist, composer and conductor working across contemporary and electroacoustic music. As co-founder of Duo “8 e 15”, he has performed internationally, including the reopening of the National Theatre of Baghdad. His electroacoustic works have been presented at Audioblast (France), Seoul International Computer Music Festival and InSonora (Barcelona), and broadcast by ResonanceFM (London) and CJSW (Canada). In 2023 he was invited to perform at Tempo Reale’s TRK Glitch Club (Florence) and his piece Remembrance of the Present was published by the US contemporary art journal Superpresent. He also collaborated as arranger and conductor on StraMorgan (Rai)

4) Junchang Zhang - Stormy Plateau

Junchang Zhang is a sound artist from China and currently base in New Zealand. This sound work talks about a kind of intimate feeling beyond language. 



5) Chris Byrne - Red flag, White flag, Black flag

A found recording of a flag flapping in a breeze was duplicated thrice and treated in three ways:
- Pitch shifted up
- Pitch shifted down
- White noise and distortion added

The three altered recordings were edited as three tracks in an audio editor. Two were panned left and right respectively, the third remained centred. Crossfades were used to slowly pan from one recording to the other. This creates the effect of the sound moving across the stereo audio space.

I have engaged with media and digital practices for some forty years. First as an artist, then as exhibition organiser, curator, producer. Trained as a sculptor, I used computers and video as part of my practice from the outset. During the 1990s and early 2000s I shifted from mostly film and video to digital, interactive and internet artworks. I’ve always found affinity with more marginal practices. Media art is the principle area, but other forms such as performance, mail art, and artists’ publications have been influential. Most of my work as an organiser, curator, producer was in these fields.

http://www.crowriver.net
https://linktr.ee/crowriver

6) j/jenn/jennifer – Here

I lost my father, Anthony Dawes Howd on October 13, 2021. This is the first track from my EP, “ADH” an experimental music/sound art documentation of my last moments with my father before he passed away and my mourning process over the subsequent two years following. Field samples recorded at Catholic Medical Center in Manchester, NH. The image is a piece of digital art I made featuring my father.

j/jenn/jennifer (they/them) is a multi-disciplinary artist working at the nexus of experimental art, storytelling, activism, and healing. Identifying as a cultural subversive, they use art to question dominant narratives and invite deeper connection with self, community, and the greater web of life. Their work has been presented and published domestically and internationally on the radio, in books, art galleries, community organizations, sculpture parks, on stage, and in film theatres.

https://jenniferhowd.com
https://www.instagram.com/jennhowd
https://jennhowd.bandcamp.com
Radiophrenia Shorts 64B

5 September 2026 4:30 pm - 5:00 pm

7 David Upton - Requiem for London Diesel (4:35)

8 Alfredo Travieso – Neck (2:35)

9 mohammadreza - Tumult (9:05)
10 Prabuddha Mukhopadhyay - Sounds from my window (4:16)

11 Chiara De Roberto - Elaborazione di un conflitto (6:05)

7) David Upton - Requiem for London Diesel

The 'keynote sounds' for London are closely related to diesel engines, specifically buses and taxis in the centre of the city:
But, around 2023/ 2024, it became clear that this was changing. New technologies, made an increaing number of buses and taxis almost silent. What had once just been a vision was rapidly starting to affect the sounds of the city.
I recorded diesel sounds around Waterloo and at bus stations in Waterloo and Richmond. I distorted else using a variery of techniques. I used "Microsounds" to suggest the way that memories decay. I played with frequencies. I also added some other London sounds: the chimes of 'Big Ben', sirens, and traffic noises.
I turned my sounds into a short composition. The three 'movements' are:
London Diesel as it was.
A dying Diesel engine remembers its days of glory.
Finally, switched off for the last time, and gone to silence.

David Upton is interested in subtle differences, in conceptual art, and in discovering unseen patterns and inter-relationships. He embraces the digital world because it offers him such a range of new opportunities.

http://www.codedwalls.com
@codedwalls

8) Alfredo Travieso – Neck

Neck is an audio experiment that uses textures, the body, language and electronics to mimic sounds of the imaginary.

Born July 1, 1973 in Bogota, Colombia. Alfredo was trained in film and arts. His studies include a Bachelor's degree in Communication Arts from Marymount Manhattan College, film directing and production at Parsons New School University, and numerous production collaborations with New York University's (NYU) TISCH School of the Arts film program. He currently resides and works out of the city of Miami, Florida. He has obtained his MFA at the School of Visual Arts: Art Practice program in New York city, where has exhibited work. In Miami, Alfredo has curated shows and runs @trashroom_gallery, he has also shown work.

https://www.instagram.com/zeligbot/?hl=en

9) mohammadreza - Tumult

This sonic narrative is an exploration of the fragile threshold between the silence of nature and the inevitable clamor of civilization. Moving from the whispers of wind and birdsong into the melodic pulses and rhythmic heartbeats of the awakening city, the piece seeks to carve out a 'sonic sanctuary' amidst the overwhelming echoes of modern life.
In an era shadowed by news of conflict and collapse, this work consciously steers away from depicting devastation. Instead, it weaves the innocence of children's laughter into a tapestry of solace, offering a refuge from the harsh frequencies of the everyday. It is not an echo of destruction, but a healing balm and an invitation to find inner peace and a reconnection with life's primal harmony in the very heart of a broken world.

Mohammadreza Heshmat (b. 1997) is an independent artist and composer based in Tehran. I have developed my practice outside of traditional academic environments through private workshops and self-taught exploration. My professional focus lies in electronic music and field recordings. As a Santur player, my work involves integrating the techniques of this traditional Persian instrument with modern sonic textures and electronic processing.

https://www.instagram.com/mohammadreza.heshmat?igsh=MWs1cTJkN3B1emZsag%3D%3D&utmsource=qr
https://m.youtube.com/@mohammadreza.heshmat

10) Prabuddha Mukhopadhyay - Sounds from my window

This work deals with the sounds that I have encountered in my life almost every day. All of these elements represent a time of day. Every element has its own story, from the Aazan in the morning to the kids in the evening; everything has a personal memory associated with it. However, these recordings are around 3-5 years old. The soundscape has changed; the green field that was there is now being massacred for a building to rise. The children are thus absent. This work represents a time when I also had the ‘luxury’ of sitting idle and recording and listening to what was happening from my window.

I am currently a student in the Sound Recording and Design program at the Satyajit Ray Film and Television Institute in Kolkata, India. Apart from film sound, my interests also lie in sound art and field recording, as well as how to shape them within the context of new media.
Spatial audio, Binaural recordings, extended listening through unconventional microphones, and Ambisonics, all these are my other areas of sound interests.

https://www.instagram.com/prabuddha._.m/

11) Chiara De Roberto - Elaborazione di un conflitto

The piece originates from the artist's troubled private and musical life experience, deeply marked by an inner division that reveals a perpetual state of disorientation and restlessness, precariously balanced between two worlds, two paths, two lives.
The study opens with an obbligato on the sound of a metronome, which like a funeral knell accompanies the listener deeper and deeper into the tunnel of their own self. There, they will encounter their ghosts and fears, that will creep into the soul through projections and fantasies and will whisper subtly sharp words that create wounds difficult to heal.
The piece does not suggest a way out; there is no courageous leap, no deep dejection. The worlds draw closer, attempt to unite, but it all resolves into just a heterogeneous mixture, in which the artist, lost, takes hesitant steps, dictated by an illusory equilibrium.

Chiara De Roberto, Italy, pianist, electronic musician and sound designer. Born in Palermo in 1999, she began studying piano at the age of 9 at the "A. Scarlatti" Conservatory in Palermo. After completing her piano studies, she developed a passion for electronic music, beginning to compose as a self-taught musician.
In 2021, she enrolled in the three-year electronic music course at the "A. Scarlatti" Conservatory in Palermo. Under the tutelage of Maestro Giuseppe Rapisarda, she graduated in 2025 and is currently in her second year of the two-year postgraduate program. Her compositions have been performed in several contemporary music festivals.

https://www.instagram.com/chiaraderoberto/
Esyllt Angharad Lewis & Amie Huckstep - tatws melys (live in the studio)

5 September 2026 5:00 pm - 5:30 pm

tatws melys will be a new live 20 minute spoken-word and music performance piece putting the voice of Esyllt Angharad Lewis in dialogue with Amie Huckstep’s saxophone and clarinet, in a humorous and surreal exploration of language, its consumption and regurgitation. Esyllt will play with the sounds of her languages, Welsh and English, and use her voice to explore the tensions between them, whilst Amie cuts across and/or adds to this tension with the 'voice' of the saxophone - either accompanying, interrupting, or taking over from the spoken word. Working with liveness and surprise, much of the 'dialogue' between the voice and the saxophone will be improvised, with some parts carefully rehearsed, creating a sense of organised chaos, and the idea that anything may happen, that the energy of the performance could soar or collapse at any point. tatws melys will also include guest vocals from our friends and collaborators.

Artist bios:

Esyllt is a multidisciplinary artist, working across performance, drawing + printmaking to play with visual & oral language tensions. The guise of performance allows her to play, challenge and undercut tropes and stereotypes usually associated with minority language culture. She won the Eisteddfod’s Ifor Davies Award for her performance Blobus a Phryderon Eraill.

Taking inspiration from Scotland’s landscapes and its wildlife, Amie’s work opens conversations between her voice and the voice of her surrounding world. Her performance plays with the saxophone’s boundaries; live-looping and effects transform the instrument into a conversationalist; field recordings create an expansive sonic landscape.

Website/social links
https://www.esylltangharadlewis.com/y-sws-mewn-pinc-1-1-2
https://www.instagram.com/amiehuckstep/
https://www.instagram.com/esylltesylit/
Buffer Zone

5 September 2026 5:30 pm - 6:00 pm

1) Louie Pegna & Shirley Pegna - Underscore (7:00)

2) François J. Bonnet - Banshee (21:38)

1) Louie Pegna & Shirley Pegna - Underscore

Synopsis of piece: Underscore is a collaboration between Louie Pegna and Shirley Pegna, combining their practices in a live performance combining sound sensitive visuals and subterranean field recordings. It is currently a work in progress performance, with it's first exhibition in March. Using a series of short videos including a document of the demolition of a Gorbals tower block that react to the audio; a score that includes field recordings of teacup rattles by subterranean vibration, under the road sound, allotment soil and a hydrophone under a gravel beach; and live improvised accompaniment. Both artists contributions are similar in that they draw on the audience's own imaginations - revealing how we are affected by our experiences of the physical world, and how a greater understanding can inform both our personal and political choices.

Artist bio: Shirley Pegna, an artist from Bristol, has experience working with composition and sound encompassing the realm of performance, play and field recordings. Although taking long distance and very close up sounds of our environment with their physical attributes, her work is often set in the domestic and familiar places and juxtaposes the familiar with the unfamiliar.

Louie Pegna, Glasgow, is an intermedia artist working between printmaking and installation. Often making works that refer to cinema, theatre and architecture, the central theme of Pegna's work is the power of communal aesthetic experience - art as public intervention.

Website/social links https://shirleypegna.com
https://cargocollective.com/louiepegna

2) François J. Bonnet - Banshee

Banshee is an ear directed towards the edges of the old world, where these infinite fines terrae cut and fractalize into coasts, harbours, fjords, peninsulas and archipelagos. Drawing its raw material from recordings made in the Inner Hebrides, Banshee tightly weaves a fabric where the sonic avatars of fauna, flora and climate merge with the human presence, its tools and its culture. Thus, a small boat cleaving through a loch becomes the voice of the mountains and wilderness, and the howling of the wind on the moors becomes the lament of a Banshee, harbinger of death, messenger of the Other World.

The piece unfolds in seven interwoven moments:

I Subharmonics (An Uaimh Bhinn)
II Seabirds & fiddle (Rubha na h-Eist)
III Impacts & Melancholy (Bodach an Stòrr)
IV Spectre (Quiraing)
V Cailleachan / Corryvreckan
VI Distance (Loch Bracadail)
VII Banshees
Suk Yun Kim - (de)touch

5 September 2026 6:00 pm - 6:30 pm

(de)touch, a binaural radiophonic composition, is an obvious nod to Jean-Luc Nancy’s project on touch. When Jean-Luc Nancy says that ’[t]ouch belongs to every part of arts because touch belongs to every part of senses,’[1] he is arguing not only for touch’s primacy in every sense, but for the reason for its primacy in senses; being a movement in and of itself (‘when the movement stops, touch stops’), touch is the process, performance in other words, of every sense. As such, the being and the becoming of touch are inevitably fused. Every sense, including listening which is hearing’s becoming, performs touch as it creates and activates the ontologies of every sense. But how exactly does touch work here in listening? How does it move or perform? What does it produce and what are the consequences for listening? What do we ever get to know things that we listen to? Do we ever get to know things by listening?

With (de)touch, I would like to tackle these questions, first by rendering sonic touch-images, if you will, of (intuitively speaking) and about (rationally or inferentially speaking) listening-with. Here the ontologies of listening-with are taking cues from Nancy’s being-with, which he develops from Heidegger’s Dasein whose existential condition is being-with others [2], as well as his analysis of the very act of listening [3]. Compositionally speaking, these are to be explored through creating various kinds of listening-with-others and observing the gaps and spaces, and the push-pull forces that these will engender. Secondly, with (de)touch, I aim to emphasise that listening as touch acts on the in-between space of limit and possibility[4], a distance or proximity that Nancy said touch needs to exist, and that it is precisely in this way listening touches—at the limit or on the surface of—what we can posit as knowing. Accordingly, equal attention is paid to the negative movement of listening as touch (hence the prefix, de-).

(de)touch explores listening as touch and (de)touch in the composition with various excerpts from the field recording that I have done for Futures of Listening: Water Knowledge from Two Cities. Here, the structure has a loose two part-form. I hope that this two-part structure will give much emphasis on the process and effect of each movement of listening: touch and de-touch.

'(de)touch' is a co-commission between Radiophrenia and Kunstradio produced with the support of Creative Scotland.

Biography:

Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

http://reddoorsound.com/
Rocío Calvo - Las Gritas

5 September 2026 6:30 pm - 7:00 pm

LAS GRITAS (2024) were collective sonorous practices of resistance, generated by the so-called indigenous people, as a way of facing the colonising advance. Their reception was incompatible with the audibility of the Iberians ones and their purpose was to produce a vibration in defence. These phenomena and the ways in which sound is used for this purpose are described by Dr. Mayra Estévez Trujillo as the colonial regime or pattern of sonority. The radio plays a key role in colonial history and my work reformulates this sound practice, generated by people accustomed to war, in societies that used to live around masculine patriarchal notions of possession and destruction, in order to create a feminine narration as an anti-temporal refuge.

Artistic Credits
DIRECTOR: Rocío Calvo.
FIELD RECORDINGS AND SOUND DESIGN: Rocío Calvo.
MUSICAL COMPOSITION, MIXING, AND EDITING: Paul Husky.
MASTERING: ROMAIN. M
RECORDING LOCATIONS: Nauta, Iquitos, Cusco, Lima, Amazon River.

Artist bio: Rocío Calvo Corchero (Carcaboso, Cáceres, Spain, 1973). Her work focuses on radio broadcasting, writing and sound dramaturgy. With a literary and scenic background, she is currently researching on writing, transmission and movement through interventions in public space.

Website/social links http://www.rociocalvo.org
Radiophrenia Shorts 33

5 September 2026 7:00 pm - 8:00 pm

1 Francis Heery - The Sanctified Microbes of Kiltormer (17:35)

2 Marjorie Van Halteren - Days are Short (2:45)

3 Hector Bravo Benard - In the Fog (10:58)

4 Szem - LIVE RECORDING - Gong Chengdu China October 2025 (6:16)

5 Jason Kerley – Ages (20:00)

6 Aurore Juvenelle - Toc toc toc (1:41)

1) Francis Heery - The Sanctified Microbes of Kiltormer

In a field near the graveyard of the East Galway village of Kiltormer is a holy well. I visited the well in October 2021 and recorded an impulse response from inside its walls. I used this impulse to create convolution reverb that recreates the sonic imprint of the well and composed this piece as a way of showcasing the well's acoustic charater. So the composition is a portrait of an en-magicked version of the well. Even though the reverb recreates the well's character above the surface of the water, I imagined the music as a sub-aquatic field recording, documenting a much weirder habitat than expected and capturing the behaviour of the sanctified lifeforms living there.

Francis Heery (1980)is an Irish composer, improvisor, sound artist and curator. His music is inspired by science-fiction, psychogeography and post-humanism.
He performs regularly in Berlin and is co-founder of untergrün and Nexus, two monthly concert series dedicated to improvised and experimental music.
His compositions have been performed by groups such as the RTÉ National Symphony Orchestra, Crash Ensemble, Quiet Music Ensemble, JACK quartet and many others. He also produces electronica under the name The Cube of Unknowing, with eight albums released on Fort Evil Fruit, Eiderdown Records and Library Of The Occult

https://www.francisheery.com

2) Marjorie Van Halteren - Days are Short

A very short piece in response to a prompt from the Junto project, a group based on Soundcloud.com, led by Marc Weidenbaum in San Francisco since 2012 -where musicians respond to weekly, fast-turnaround assignments to compose, record, and share new music. The idea is to use restraints as a springboard for creativity. This one was: 0629 - Jigsaw Logic / The Assignment: Break a piece of your music and put it back together again. Find out more on the weekly Disquiet Junto project and how to participate at https://disquiet.com.

Marjorie Van Halteren was born in Detroit, Michigan. She lived in New York for 20 years, where she was a radio producer. She shared in three Peabody Awards for her work in creative documentary and live radio. Her work has also appeared on Radiophrenia, BBC Radio 3 and 4, WDR, Radio Netherlands, NPR and Studio 360 in the US. She has lived in the North of France since 1992, and is a member of the Muzzix collective in Lille, France. She records, composes, sings, and plays electronic instruments, solo, as well as in collaboration with other musicians.

http://www.electroacousticalpoeticalsociety.com

3) Hector Bravo Benard - In the Fog

This work is built up of noisy material produced using chaotic generators, which is then put through a signal processing patch made up of inter-modulated devices with audio and control signal feedback. This results in slowly changing sounds with ringing high frequencies and a dense spectrum. Multiple versions of these processed sounds are layered and arranged in space, resulting in static atmospheres that develop gradually and produce different micro-rhythms and interference patterns, with special emphasis on spatial and timbral counterpoint. There are also synthetic grain clouds that punctuate some of the gestures, as well as spatialized clouds into which the original material is scattered. The title is related to the sonic metaphor of being surrounded by a dense cloud of slowly moving fog.

Originally from Mexico, studied philosophy and music at UVic, Xenakis Centre, Sonology, KonCon, Codarts, UNAM, DXARTS, and U. of Birmingham, where he received his Ph.D. He composes sound-based music focusing on timbral and spatial elements, and natural phenomena such as non-linear dynamical systems. His work has been presented internationally at major festivals and conferences such as ICMC, SEAMUS, NYCEMF, MA/IN, BEAST FEaST, and Sonorities, among many others. Lives in the Netherlands and Germany, working as an independent artist, researcher, and music-software developer.

https://www.hbbenard.com/

4) Szem - LIVE RECORDING - Gong Chengdu China October 2025

This piece began as a sketch during a live performance at Gong in Chengdu, China. I am looking for a platform to broadcast a new composition that extends this work, an experimental sound piece collaging cut-up near-death experience vocals with subliminal messages for heart expansion, framed within left-field electronic textures. As a performer, my goal is to make music that reflects the unseen - the interconnected, heart-centered beings I believe we are. I believe now, more than ever, the world needs music that pushes boundaries, and allows shadow to surface whilst inviting deep, cerebral reflection.

Szem is the left-field electronic project of visual and sound artist Laura Hunt. Szem means eye. It speaks to the many ways we see — through the body, through the third eye, through memory, and through one another. Combining hardware synthesis and electronic sampling with percussive sculptures, cut-up vocals and poetry, Hunt creates immersive sonic environments. Atmospheric water is sonified through hydrophone microphones; glass sculptures are amplified and transformed into percussive instruments. Her compositions weave together analogue hardware and digital processes, at times embedding subliminal frequencies that invite expanded consciousness and heart awareness. Hunt’s practice seeks to decode and conjure.

https://www.instagram.com/laurnorda/

5) Jason Kerley – Ages

A collage of meditation and new age cassette tapes, layered until they become a cacophony of indecipherable self help.
This eventually makes way for an improvised ambient piece.

Jason Kerley is a motion designer, electronic musician and artist based in Glasgow.

His work is consistently inconsistent, unified by a passion for the importance of challenging convention through play.

Jason has made music for over two decades under a variety of aliases, releasing on a several formats (with varying levels of obsolescence).
Currently Jason performs under his surname and hosts a monthly show on Glasgow's Radio Buena Vida.

https://jasonkerley.work/
https://www.instagram.com/JasonKerley
https://www.instagram.com/Kerley_SND
https://buenavida.co.uk/kerley/

6) Aurore Juvenelle - Toc toc toc

Who calls who? Where? And why?
With excerpts from “Die Reise nach Lyon », by Claudia von Alemann, 1981Aurore Juvenelle is a historian, tour guide in Paris, archivist, and radio enthusiast. She has notably produced two radio documentaries about the trials of the terrorist attacks that struck France in 2015 and 2016.
« Le procès du 13 novembre sur écoute » (Arte Radio) : https://www.arteradio.com/serie/le-proces-du-13-novembre
« Nice, l’audience de trop ? » (France Culture) : https://www.radiofrance.fr/franceculture/podcasts/l-experience/nice-l-audience-de-trop-7174254
Counterflows live?

5 September 2026 8:00 pm - 10:00 pm

xentos fray bentos - Lugubrious

5 September 2026 10:00 pm - 11:00 pm

As human society continues to soil it's own nest, Bentos sets off on a journey through the debris, reciting impolite monologues and recording whatever sonic attractions fall across his path. 'Lugubrious' eschews a temporal or formal structure and instead seeks to negotiate the hinterland between outrageous solipcism and the interactive peaks of the unconscious. Expect joy and tears in equal measure for are we not the sum of all contradictions? Artist bio: These few lines must serve to convey the essence of the artist's long creatively fecund period on the earth. After several failed attempts at an education, he was taken under the Essex wing of the Poor Clares of Perpetual Notion. Slowly, under a reign of blows and religious brutality that would make a stay in Guantanamo Prison seem akin to a Club 18/60 holiday spa experience, he grew bold and struck out into a radiophonic bloom. This direction saw him spend the first of many gruelling hours in the field and the fruits of this practise are rotting delightfully. https://dietripcomputerdie.bandcamp.com https://www.instagram.com/unhappyfly?igsh=ZnA3MDgzNmwzN3Nx
Fabiana Gibim - Nocturnal Methods

5 September 2026 11:00 pm - 11:59 pm

This mix is a sound collage composed across multiple space-times: a material of resonance and formless formation, signals without fixed origin assembling an imaginary cartography of sound. Deja Vudu operates as a radio-archive-in-motion, where memory is metabolized rather than preserved: fragments circulate, decay, return, and recombine, producing a geography shaped by interference, vibration, and fugitive listening. Emerging through close listening, shared research, and sustained conversations with artists working across experimental sound, radio, and theory, the program treats radio as a porous membrane between archival debris and lived presence. Voices, field recordings, speculative broadcasts, cosmic sonifications, and sonic fiction fold together, unsettling linear chronology and stable authorship. Developed during the 2025 Radio Art Fellowship at Wave Farm, this episode was shaped through exchanges with Kamari Carter, Kadallah Burrowes, Gladstone Deluxe, Celeste Oram, Gregory Whitehead, and Jay Needham, unfolding through in-person encounters and live broadcast on WGXC. Artist bio: Fabiana Gibim is an artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Nation. Her work explores sonic art and what she calls “nocturnal archiving,” a practice attuned to listening, memory, and the unseen. She is the co-founder of the São Paulo–based independent press Sobinfluencia and of the Nocturnal Lab, a laboratory for nocturnal and sound investigations. Fabiana has curated exhibitions at Yale’s Beinecke Library, where she was a curatorial fellow. She is researching radical archiving, radio art, and sonic experimentalism and is a Radio Art Fellow at Wave Farm. https://www.fabianagibim.com/ https://www.instagram.com/unarchivist_antifuture

This September we partner with Radiophrenia, the groundbreaking radio art festival and art radio station broadcasting across Glasgow on 87.9FM and online, featuring hundreds of new and original works for radio, a series of 20 newly commissioned special projects, public Live-to-Air performances, live in-studio shows and performances, long-form works, shorts and pre-recorded features.

A full schedule can be found here

In making this year’s selections Radiophrenia was assisted by guest curator Semay Wu. Through a public engagement programme Radiophrenia has been working with seven different community groups to realise a new series of sound and radio works.

As in previous years the majority of the programme will be made up from selections submitted to an international open call for sound art and radio works. This year Radiophrenia received so many submissions that we felt it necessary to extend our broadcast across an additional weekend just to squeeze it all in.

The station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium. Radiophrenia first began broadcasting in April 2015 with subsequent editions in 2016, 2017, 2019, 2020, 2022, 2023 and 2025.

The schedule for today's broadcasts:

Laura Splan - Cryptic Lineages

6 September 2026 12:00 am - 12:30 am

Laura Splan’s “Cryptic Lineages” explores emerging artificial intelligence that leverages organic systems to perform machine learning tasks. The work features a poetic narration read using an AI-generated clone of Splan’s voice that is accompanied by a soundscape created with reservoir computing and muscle movement data. Using “physical reservoir computing” as a conceptual scaffold, the narration delves into the use of liquid, microbes, plants, and human bodies to perform computational processes. Drawing upon real experiments using water, bacteria, strawberries, and living tissue, “Cryptic Lineages” problematizes the increasingly porous boundaries between the computational and the biological. The scripted narration interrogates the instrumentalization of bodies and how notions of the "natural" and the "individual" are shaped by the technological. Science and fiction are hauntingly interwoven through speculations on a future generated by the “ambient labor” of bodies. Artist bio: Laura Splan is a New York City based artist working at the intersections of Science, Technology, and Culture. Her internationally recognized work has been presented at the Museum of Modern Art (NYC), Brooklyn Museum (NYC), Musea Brugge (Bruges), Santa Mònica Art Centre (Barcelona), and The Nobel Prize Museum at Liljevalchs (Stockholm). Commissions include projects for Museum of the Moving Image, Vanderbilt Planetarium, Beall Center for Art+Technology, and Bruges Triennial. Her research has been supported by the Simons Foundation, Jerome Foundation, Creative Australia, and NEW INC at the New Museum. Awards include Wave Farm’s Media Arts Grant and AS220’s NEA Fellowship. https://www.laurasplan.com https://www.instagram.com/laurasplan/ https://soundcloud.com/user-376853047 https://vimeo.com/laurasplan
Het perfecte stel

6 September 2026 12:30 am - 1:00 am

All kinds of sound sources, dreams, and thoughts mingling. Recorded in the Zuilingstraat. Artist bios: Hessel Veldman (1956) is a musician, composer and radio- and music-producer. An early fascination with electronic audio devices from the beginning of the 1970s, in combination with a preference for writing and performing extremely idiosyncratic music, has created a wide range of experimental music and radio productions. Leonie Roessler is a composer, performer, and radio maker based in The Hague. Together they are Het perfecte stel. Insta: hessel_veldman Insta: ljroessler Facebook: Leonie Roessler
Andrew Backhouse - Echoes with/out Origin

6 September 2026 1:00 am - 2:00 am

This hour-long radio artwork unfolds from shortwave recordings, captured and split into stems before being dub-mixed with delay and reverb. Drawing on hauntological ideas — where past signals linger like ghosts on the airwaves — it listens for the spectral traces in transmission and memory. As analog crackle and distant carriers bleed into processed space, the piece invites us to tune not just frequencies but time itself. A meditation on absence and presence broadcast on Radiophrenia’s FM and online dial. Artist bio: Andrew Backhouse is an artist who explores themes of memory and absence. His work reflects the idea that the past is never fully gone and that even events which never happened still shape our present. Rather than telling straightforward stories, Andrew uses fragments of sound, images, and text that don’t fit neatly into one narrative. Andrew doesn’t simply use found and recorded materials to document reality. Instead, he sees them as elements to reshape, layer, and present in new ways to listen and see. His work avoids clear, literal interpretations, instead creating a sense of faded memories. https://backhouse.wtf https://www.instagram.com/backhouse_wtf/
Nestor Hiebl - The Bird Sings with its Numbers

6 September 2026 2:00 am - 2:30 am

The Bird Sings with its Numbers is an automated live radio performance conducted by a numbers station. A numbers station is a type of radio station historically almost exclusively used by states and militaries. They usually transmit endless series of numbers read out by speech synthesizers for reasons that are likely to remain unknown forever. "The Bird" takes the medium of numbers stations as a starting point for a sonic exploration of the institutional politics of technology. It broadcasts an audio stream consisting of real coded messages that listeners are invited to crack, giving the work an interactive dimension that toys with the irresistible draw of an uncanny and mysterious infrastructure.

Artist bio:
Nestor Hiebl is an artist and critical engineer whose work applies semiotic techniques to provide a coherent analysis of the power relations underlying
contemporary socioeconomic developments, especially in the domain of human corporeality and temporality. Their practice makes a point of rejecting any reification of normative ideology and the technological complexes it is enmeshed in, rather suggesting a clarification of the social and cultural logic such systems aim to reproduce and perpetuate. They live in Vienna, where they currently study at the Academy of Fine Arts and work as an embedded software engineer.

Website/social links https://nestorhiebl.com/
Qasem Waleed - Doppler Effect

6 September 2026 2:30 am - 3:00 am

Qasem Waleed is a 28-year-old physicist who has lived in Gaza his whole life. Since the beginning of the genocide in Gaza, Qasem has been writing about the chaos and violence of Israel’s military bombardments and how they devastate his and his family's lives. In Doppler Effect, Qasem has tried to find a way to describe Gaza, the reality in which he has been living in, through the lens of science, specifically through quantum mechanics. "As a physicist, my favourite question was - are we alone in the universe? Since the genocide, I must however now reflect on a much smaller scope, are we alone on Earth?"

https://www.instagram.com/waleedq18/ 


music by Silvia Cignoli


https://www.instagram.com/silviacignoli/ 

Directed and edited by Alan Alpenfelt

https://www.instagram.com/alanalpenfelt/

produced by Vanni Bianconi / Tornasole
https://www.instagram.com/vanni_bianconi/

Artist bios:

Qasem Waleed is a Palestinian physicist and writer based in Gaza. He writes for Al Jazeera, Electronic Intifada, Mondoweiss.

Silvia Cignoli is an experimental musician, sound artist, composer for classical and electric guitarist.

Alan Alpenfelt works in theatre and for community radios, specilizing in dramaturgy, directing and education.

Vanni Bianconi is a poet and writer and directs various cultural activities such as the online magazine for translation Specimen, Babel Translation festival (2005-2025)

Website/social links

https://www.instagram.com/waleedq18/
https://www.silviacignoli.com/
Conduction Series 12

6 September 2026 3:00 am - 4:00 am

The 2025/6 Conduction Series Involuntary Transmission 3/7/2025 Betsey Biggs, August Black, Peter Courtemanche, Jeff Economy, Anna Friz, Maximilian Goldfarb, Virginia Mantinian, Rodrigo Ríos Zunino Emphasizing live radio, interactivity, and media archaeological methods, The 2025/6 Conduction Series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Some sessions don't have a description and the one on October 3th doesn't have even a title. However, some have a more detail description as in The Spiral: The record groove or a strip of tape moves forward by circling, slipping into another layer each time. That coiling motion echoes how time forms paths that don’t quite repeat. The spiral frames the way patterns return at different scales, from tiny biological curves to movements that shift light, air, and weather. A shared structure keeps resurfacing and shows how things grow and reorganize, how memory drifts, and how repetition comes back slightly off axis, opening another turn. Artist bio: The Conduction Series is a collaborative live radio broadcast produced by 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. Artists names are: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino. The Conduction Series is syndicated on Radio MonteAudio in Montevideo, Uruguay, Radio Tsonami in Valparaíso, Chile, Radio CASo in Buenos Aires, Argentina, CITR FM in Vancouver, Canada, New Adventures in Sound Art in Ontario, Canada, and on Radio 1190 in Boulder/Denver, USA. https://conduction.wavefarm.org/
Radiophrenia Shorts 1A

6 September 2026 4:00 am - 4:30 am

1 A Ranic - Vocal Hymn (4:58)
2 Female Laptop Orchestra (FLO) - From this world to... (10:24)
3 La Pesch - Mouth without Words (5:27)

4 Faruk Mehić - ePrelude Op. 18 No. 3 (3:18)
5 Medio Mutante - Williams Mix 23A (4:16)

1) A Ranic - Vocal Hymn

Inspired by a single chord, this track, "Vocal Hymn" is comprised of nearly 20 individual vocal tracks all sung and arranged by A Ranic. Vocal Hymn explores the discomfort of dissonance by using long meandering vocal melodies which twist and intertwine with each other, falling in and out of harmony.

A Ranic is a queer artist working out of Detroit, Michigan. Their work explores themes of twinship, gender, and the strangeness of having a body. Ranic's work expands across many mediums, including but not limited to: performance art, drag, clowning, sound and video art, printmaking, fiber arts, and installation.

https://www.instagram.com/nibacari/

2) Female Laptop Orchestra (FLO) - From this world to...

This is a proposal for a fixed composition, scheduled to be mixed and sent to Radiophrenia on March 7th, 2026. This piece will revolve around one question: "We are sending a message to space. It is likely that we will be exctinct by the time aliens hear it. What do you want to say?"
Each of us will answer in our mother tongues, and these spoken words will be processed through an ethical AI tool to create our base track. Geographically distributed FLO performers will each use the opensource Hi Audio platform to record asynchronously additionnal musical tracks on top of the previous composition. This will allow us to explore ideas such as the state of our world, humanity's posture within our planet and the universe, our hopes for the future, our prides, our disappointments, our cultures and our values.

The Female Laptop Orchestra, founded in 2014 by Nela Brown, is an international ensemble of professional musicians, visual artists, and researchers working at the intersection of music, technology, and distributed audiovisual performance. By bridging time zones, continents, political boundaries and languages, FLO explores telematic intercultural collaboration and raises awareness of the underrepresentation of women in the sound and music computing fields. Performers for this piece are: Nela Brown (HR), Léa Ikkache (FR), Alayna Hughes (US), Maria Mannone (IT), Magdalena Chudy (PL), Ariane Stolfi (BR), Sonia Wilkie (AU), Alayna Hughes (US), Silvia Binda Heiserova (SK), Maria Aguado (SP), Sonia Wilkie (AU).

https://femalelaptoporchestra.wordpress.com/performances/

3) La Pesch - Mouth without Words

What are we listening to? A forest at night? A melting glacier? A choir of wordless mouths and bodies trying to express their relationship to the world and with one another. This is what remains when the world leaves us speechless with a strong desire to express.

La Pesch, lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere. She sets in scene encounters creating contact points in dialogue.

https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch

4) Faruk Mehić - ePrelude Op. 18 No. 3

ePrelude Op. 18 No. 3 (2025) is a composition in which the composer explores the creative possibilities of electronics and the electronic manipulation of sound. The piece was premiered at the Electronic Music Concert as part of the anniversary programme of the Student Cultural Centre, University of Banja Luka, and was subsequently featured in the Metapsychosis journal in the article Spectral Portraits in Transit by Michael Eisenberg.

Faruk Mehić is a composer from Bosnia and Herzegovina. He completed his bachelor’s studies in composition under the mentorship of professor Tatjana Milošević Mijanović, DMA, at the Academy of Arts of the University of Banja Luka, where he is currently pursuing his master’s studies in composition. His works have been performed across Bosnia and Herzegovina, Montenegro, Serbia, Albania, Slovenia, Croatia, Italy, Denmark, and The United States of America.

https://farukmehic.com/

5) Medio Mutante - Williams Mix 23A

In 2023 Medio Mutante became the first artist to realize a new version of John Cage's "Williams Mix" for magnetic tape using the original 1952 score. The score is 192 pages long, covers 8 channels of sound, more than 600 sound samples and required over 10,000 tape splices.

The finished piece is available as a boxed set of 8 records of the individual channels, or digitally in mixed and individual channel versions.

A detailed documentary video of the process is available on Medio Mutante's YouTube channel: youtu.be/h1G8EljAfPA
https://mediomutante.bandcamp.com/album/john-cage-williams-mix-23a

A band.

http://www.mediomutante.com
https://www.instagram.com/mediomutante.mp3
Radiophrenia Shorts 1B

6 September 2026 4:30 am - 5:00 am

1 Yeudiel Infante Esquivel - GLOSOLAL-IA FM (11:00)
2 Edward Ruchalski - Radio Voices 3 (I'm Here and There) (7:24)
3 Susan Brewster - The Nature of Persistence and the Other Way Round (7:31)

4 Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean (3:09)

1) Yeudiel Infante Esquivel - GLOSOLAL-IA FM

GLOSOLAL-IA FM presents voices that no longer belong to any real language; they emerge from the failure of artificial intelligences attempting to restore messages beyond their capacity for interpretation. Conceived for broadcast, the work is a binaural radio art piece in the format of a radio magazine, premiered on Radio UNAM 96.1 FM (Mexico City) on 14 February 2026. It incorporates sound documentary segments exploring impossible insects, fictional advertisements for unimaginable products, non-conventional musical passages, and capsules that construct sonic coherence without semantic meaning.
It is, perhaps, a radio signal from an alternative reality; yet at the same time it is a metaphor for our own—of media that exclude and of silenced voices. This language is illegible to us even though it once articulated the reality we inhabit, much like marginalized voices the system does not know how to hear. What do the languages silenced by technology sound like?

Yeudiel Infante is a Mexican composer and sound artist. His work has been presented at major venues and festivals in Mexico, United States, and Europe—including the Palacio de Bellas Artes, Festival Internacional Cervantino, the Kennedy Center, and the Théâtre Public de Montreuil—and has received recognition from institutions such as the Centro Mexicano para la Música y las Artes Sonoras and the Bienal Internacional de Radio. In 2024, he served as Coordinator of the 46 Foro Internacional de Música Nueva organized by the Instituto Nacional de Bellas Artes y Literatura.

https://www.instagram.com/yeudielinfante
https://x.com/yeudielinfante

2) Edward Ruchalski - Radio Voices 3 (I'm Here and There)

Radio Voices (3) was created specifically for Radiophrenia’s open call. The source material was recorded from a short-wave receiver via the Wide-band WebSDR site, University of Twente. The various beeps, noises and tones, and spoken words were processed by EQ, filters, and pitch shifting. Additional, sound sources include bells and percussion.
In my Radio Voices project, I hope to present an imaginary world of our world in a future that no longer includes human beings. However odd this may seem, in this future, human-made sounds from the past are still present, dominant and floating in the atmosphere.
This piece made from radio transmitted sounds is intended for radio broadcast.

Edward Ruchalski is a composer, sound artist and field recordist. His compositions have been performed at the Kennedy Center, Lincoln Center, Mass MoCA, Symphony Space on Broadway and elsewhere. In 2020, Ruchalski’s acousmatic work, “Refined Localities”, was selected for inclusion in the exhibition, Audiosphere, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. Ruchalski has been an artist in residence at Wave Farm in Acra, N.Y. During the residency he created a concept for a radio show with co-host Stephen Bradley called Bells, Bugs, Whispers & Plinks (WGXC 90.7 FM).

edwardruchalski.com
edwardruchalski.bandcamp.com

3) Susan Brewster - The Nature of Persistence and the Other Way Round

Thinking about recent discoveries of fossilised human footprints, the idea of aeonic imprints, something lasting indefinitely, from fossils to DNA, sparked many images in creating this piece. Whether a footprint in the sand, or an unconscious memory, it is fascinating that an event might suddenly, or gradually, and unexpectedly reveal clearly what has been hidden for a long, long time. An ambisonic composition, “ The Nature of Persistence and the Other Way Round” aspires to place the listener within an immersive sound environment that is familiar but alien at the same time. Textures are created by digital manipulation of a variety of samples from acoustic instruments including flute, drums, cello and mouth harp. As a scalable format, the piece could be configured and decoded to fit different surround speaker systems whereby the virtual sound sphere is adapted accordingly.

Susan is from the USA living in London, UK. Her compositions encompass a spectrum of musical styles, traditions and concepts. Her electroacoustic work has been awarded and premiered at international festivals. As an invited guest composer at the London Gamelan Composers Forum, ‘Ears to Earth’ for Gamelan and electronics, was premiered at the School of Oriental and African Studies (SOAS), London. Compositions are experimental and abstract, suggesting stories or conundrums. Scores range from conventional notation to graphic designs prompting improvisation. Currently she focusses on creating compositions for ambisonic, or immersive environments, exploring themes of the human relationship to technology.

https://www.linkedin.com/in/susanbrewster
https://www.instagram.com/susanbrewster/

4) Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean

These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers.

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com
Radiophrenia Shorts 15A

6 September 2026 5:00 am - 5:30 am

1 Shih-Lin Hung & Ju-An Hsieh - L'Intrus (The Intruder) (5:14)
2 JULIA HANADI AL ABED - futur détritique_sidari (15:56)
3 "Kylie" Seunghyun Oh - Lady Lazarus Underwater (8:33)

1) Shih-Lin Hung & Ju-An Hsieh - L'Intrus (The Intruder)

The work "L'Intrus" (The Intruder) is primarily based on the lines of a graphic score by artist Ju-An Hsieh. Through the electroacoustic modulation of concrete human voices, objects, and environmental sounds by composer Shih-Lin Hung, it weaves a sonic theater of mutual "numbness" and "suffocation" between dreams and reality. Crucially, the sonic experience maintains its profound impact even in the absence of the visual score, as the audio autonomously constructs a complete sensory world. The piece invites the listener to navigate an ever-shifting landscape where the familiar becomes alien, eventually reaching a state of sensory saturation filled with "desolation."

Shih-Lin Hung is an electroacoustic composer trained in Western classical composition, focusing on musique concrète and the sonic potential of everyday sounds.

Ju-An Hsieh is a visual artist whose work explores ecology, colonial histories, and embodied memory through image-based practices.

https://soundcloud.com/alfred-pierrot

2) JULIA HANADI AL ABED - futur détritique_sidari

I walk along Sidari beach on the island of Corfu. The Adriatic Sea on my right, and the shift from one language to another and music from the beach bars on my left. The strong contemporary tourist influence is justified by the striking beauty of these landscapes. The marl and sandstone geology is constantly being shaped and deciphered by the winds and the surf into soft and hard stratified reliefs. These landscape features express themselves either from their robustness and fragility. There, gathering the ramparts of posidonia beds and small creatures i can't name, there are also objects that have clearly become marine. But I am quite certain that I can name and identify these : this future detrital geology. I read this land. Then I climb up, and immerse my ears in the underwaterlife of canal d'amour, paying close attention to this new presence, sea wind in my hair.

Julia Hanadi Al Abed first engaged in acousmatic writing and field recording while walking, improvising, and wandering on the Atlantic coast with a recorder in hand. Since then, tracing voices, making use of environmental recordings and recording various sonic bodies have become the essence of her work. When performing live, she deploys different facets of electronic music practice, mapping various paths for the act of listening while spatial dimensions of sound shapes her work also with installation forms. She received commissions from Radio France, INA-GRM, and plays either in France as abroad.

https://juliahanadialabed.blogspot.com/
https://juliahanadialabed.bandcamp.com/
https://www.instagram.com/dzoulia/

3) "Kylie" Seunghyun Oh - Lady Lazarus Underwater

Translation is a work of channeling; yet, going through such a process, languages travel over time and space, are distorted, and given rebirth.

I composed a sound piece over my mother’s voice reading her own translation of Sylvia Plath’s poem, “Lady Lazarus”. I also painted a painting, linked to my synesthetic perception of the poem, and connected it as a visual for the piece.

The poet’s poem goes through a death and resurrection while being translated and spoken in my mother’s voice and her mother tongue. I try to listen to the women’s voice from the former generation and the prominent Western culture; distorted, disseminated, repressed, vandalized, and fetishized, yet still powerful. It feels like trying to listen to the voice underwater. When I try to recreate it, I inevitably destroy it. However, something new is born from my hands - again.

"Kylie" Seunghyun Oh was born in 1996 in Seoul, South Korea, and is currently based in Cologne, Germany. Born to a heritage of a grandmother who wrote and a mother who translates literature and paints, she defines herself as a multidisciplinary young woman artist, thriving between the mediums such as sound, music, visuals, literature, language, etc. Influenced by the experience of living with synesthesia and also living in different countries, such as the US and Japan, she speaks to the world with her non-linear identity through multimedia and multilingualism.

https://www.instagram.com/kylieoh.sonic/
https://kylieoh.bandcamp.com/
Radiophrenia Shorts 15B

6 September 2026 5:30 am - 6:00 am

1 Chloe Turpin - Amygdala hijack (woos woos swallow) (7:52)
2 Randa Megahed – Dabab (10:26)
3 Matheus Montanari - What is left (3:31)
4 Zouning Anne Liao - Dust Storm (5:34)
5 Water Feature - Various Birds - eastern meadow warbler (1:20)

1) Chloe Turpin - Amygdala hijack (woos woos swallow)

Amygdala Hijack (Woos Woos Swallow) is an experimental sound piece and part of Soft Tissue, a series of audio works exploring voice experiments and the emotional charge of speech. Treating language as texture and rhythm, it shifts between spoken and sung fragments, threading the mundane through the lyrical. Weaving freely documentary fragments, found sound and poetic composition, Amygdala Hijack is less a story to follow than a space to inhabit.

Chloe Turpin is a London-based sound artist and composer. With a background in fine art and performance, her practice spans music production, radio, performance and documentary with a focus on experimental audio storytelling. Her work explores emotional tension in voice and language, shaping meaning through tone, rhythm, fragmentation and silence. Weaving composed sound, spoken voice and documentary forms, she treats listening as an embodied-affective experience. She holds an MFA from Goldsmiths College and an MA in Audio Storytelling from UCL. Her feature Shorn Women was selected for the Charles Parker Prize and a 2025 Highlight by audio curation platform XMTR.

https://linktr.ee/chloeonzloh

2) Randa Megahed – Dabab

The title, meaning “fog” in Arabic, refers to the central image guiding the work: a dense, shifting mass that disturbs perception, changes in texture and volume, and allows forms to appear, fade, and disappear. Rooted in a research practice focused on residue: what is peripheral, rejected, or set aside, the piece brings background noise, remnants, and sonic debris to the foreground. Recordings from the artist’s grandmother’s damaged cassette tapes become both an intimate archive and a primary sound material. Through these degraded and unstable sources, Dabab explores loss, erosion, and disappearance, as well as quieter themes such as home, familiarity, memory, and nostalgia. Composed in two movements, the work combines processed field recordings from the artist’s domestic environment with manipulated archival materials, in which repetition, noise, accidents, and the physicality of tape are deliberately emphasized. Through processes of editing, transformation, and reappropriation, Dabab questions how damaged and unwanted sounds.

Randa Megahed (1997) is a sound and visual artist based between Paris and Cairo. Her practice spans installation, performance, video, image, and sound sculpture, exploring obsolescence, fragility, memory, and the poetic and political potential of residue. She works with degraded images, family archives, repurposed electronics, and unstable sound devices. Megahed holds a Master’s in Musical Creation and Sound Art from Université Gustave Eiffel and INA GRM, a Master in Fine Arts from ESÄ Tourcoing, a Bachelor in Media Design from the German University in Cairo, and a pedagogical diploma (CFPI). Her work has been shown in Berlin, Marseille & Cairo https://www.instagram.com/randa.megahed/

3) Matheus Montanari - What is left

A binaural composition crafted from the remnants of a rare phenomenon: the cooperative fishing between humans and wild dolphins in Southern Brazil, one of the last examples of such interspecies collaboration globally. In this context, the fishers develop a type of multispecies kinship, where the dolphins are named and considered family members. The audio consists of underwater recordings and fishermen's accounts of deceased dolphins, processed by noise-reducing Artificial Intelligence. In a critical gesture, the work reverses technological logic: it discards the “clean” human voice and amplifies only the “noise” excluded by the algorithm (animal sounds and technical glitches). The resulting soundscape consists of filtered artifacts poised on the liminal threshold between what is still audible and what has already been lost.

Matheus Montanari is a Brazilian artist and holds a PhD in Visual Arts from the University of São Paulo. He is a member of the Poéticas Digitais group (USP) and the Multimedia Anthropology Lab at University College London. He was a Leonardo Imagination Fellow and is part of the group documenting the Cooperative Fishing with Dolphins (IPHAN, CANOA-UFSC). His artistic practice investigates the relationship between art, technology, and life in complex ecological contexts through the notion of technobiodiversity.

Website/social links https://www.matheusmontanari.com/
https://www.instagram.com/montanarimatheus/

4) Zouning Anne Liao - Dust Storm

This fixed media composition is inspired by the chaotic energy and fine particulate detail of a dust storm. Dust storms are violent, mesmerizing phenomena—walls of wind-borne earth that reshape both landscape and perception. This composition seeks to capture the duality of their nature: the immense, chaotic energy they unleash and the microscopic precision of the dust itself, suspended in turbulence. On a metaphorical level, the piece explores erosion—not just of land, but of memory, identity, and form. As with a dust storm, boundaries blur. Sound becomes sediment. Structure is worn away until only traces remain.

Zouning is a composer and sound designer whose music reflects her fascination with natural phenomena, cycles of life, the materiality of sound, and the evolving relationship between humans, technology, and the environment. Driven by a curiosity about the expressive potential of electronic circuits, she is passionate about DIY electronics, building her own sensor instruments to explore new sonic possibilities shaped by physical gestures.

annlzn.com

5) Water Feature - Various Birds - eastern meadow warbler

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/
Radiophrenia Shorts 3A

6 September 2026 6:00 am - 6:30 am

1 Yuxin Hu – Silence (5:36)

2 Valentin Sismann – Erosia (17:10)
3 Dan Antoniu - Electric Creek (6:25)

1) Yuxin Hu – Silence

The sentence “Silence, I discovered, is something you can hear”—originally from the novel Kafka on the Shore—was chopped and played “randomly” by me during the live performance. (The book is incredible, definitely in my top 3 of the year :D)
I think that when a complex sentence is deconstructed into simpler fragments, each fragment reveals its own intensified meaning, which in turn amplifies the meaning of the original, more complicated sentence.
I try to make the reading sentence experience as a sonic looping and floating adventure, so you can feel a bit of what the character experienced in the book, even you haven’t read it yet.

So… what is silence?
 And what is the silence within yourself?

Yuxin Hu is a sound artist based in the Netherlands. or you can call her a noiser. She creates experimental music, sound installations, and free improvisation, or interdisciplinary artwork based on an acoustic-electronic approach. "Acoustic" means all the sound sources are from realism, while "Electronic" lets it lean a bit to surrealism. Currently, she is a music master in Sound of Innovation, ArtEZ University of Arts. She is doing research on making free improv based on daily life objects such as Bluetooth mouses, cups, shelves, etc., aimed at speaking for daily life objects and freeing them from their default functions.

https://www.instagram.com/frozen1900_/
yuxinhu.com

2) Valentin Sismann – Erosia

Beneath the cliffs, the sea crackles. Secret life of the waves, of the wind, without anyone, existing. Outside, a shitstorm of machinery and bodies. Consuming. A pseudo-embodiment of the living.
Two impressions of the same show. Erosion, scum. Autophagy is fantastic. Especially in music: l'art se nique.

Valentin Sismann (born in 2002 in France) develops a practice that combines acousmatic composition and video. He explores the idea of expanded music, where sound and visuals are expressed in ways that are either poetic, narrative, or conceptual. His works focus on our relationship with technology, particularly recording media, which he questions and manipulates within critical or imaginary spaces.
valentinsismann.com

3) Dan Antoniu - Electric Creek

Electric Creek is a work that is made from a recording of frogs in Madison SD. The recording is augmented slowly distorting the recording’s perceived reality through layering screams and multiphonics. Audio processing and video shaking were used to distort the material further.

Drawing on the intensity of sound and his Romanian heritage Dan Antoniu creates visceral sonic experiences. Utilizing gestures, transformations, and electronics Antoniu’s work serves as a ritual to create new perceptual environments for the audience and performers to inhabit.

https://www.youtube.com/@danantoniumaestrodistortion
https://danantoniu22.wixsite.com/my-site-3/recent-works
https://www.instagram.com/maestro_distortion/
https://www.facebook.com/dan.antoniu
Radiophrenia Shorts 3B

6 September 2026 6:30 am - 7:00 am

1 Pepijn Gyssels - Swedish Ecstasy (18:08)
2 Stephen Bradley - Slow Thaw (10:00)
3 Water Feature - Various Birds - 04 miniature quail (1:07)

1) Pepijn Gyssels - Swedish Ecstasy

This is an existing piece PiP made for an exhibition in Bozar (Brussels). The expo brought together a number of figureheads from the Swedish art scene, whose work was embedded in mysticism and esoteric speculation. The sound piece aimed to create an optional, extra layer to the visitors' experience. This soundscape lets you wander through compelling textures and atmospheres, rather than clarity. A voice gently interrupts this dream state from time to time, pivoting into unknown poetic territory.

PiP is short for Pepijn Gyssels. He is a field recordist, music producer and DJ, based in Brussels. His main occupation is the act of listening. He aims to create moments and focus on the sounds that rave within them. He travels with with microphones and harvests the sounds he encounters. In this piece you can hear thunder in Portugal, but also a street in Venice and some distant cries of prisoners. Tijn Driessen created additional synthetised sounds and his sister, Maud Gyssels, wrote the words, brought to life by the voice of Gemma Allen.

http://www.pepijngyssels.com
https://www.instagram.com/pip_sound/
https://zitstill.bandcamp.com

2) Stephen Bradley - Slow Thaw

"Slow Thaw" is a radio sound artwork composed from the perspective of a glacier slowly melting. Its voice is formed through deep resonant drones, subtle cracks, and the murmur of meltwater, unfolding at an increasing pace. Against this interior landscape, the distant rumble and grind of human consumption presses onwards—growing louder as the ice thins and the oceans and seas rise. The composition contrasts geological time with ecological urgency, tracing transformation rather than spectacle. As the glacier dissolves into the ocean, its mass becomes absent, and rising seas carry forward the memory of what once stood solid and still.

Stephen Bradley is an interdisciplinary artist whose practice maps and traces our relationship to place through sound, photography and recorded stories juxtaposed with artifacts discarded or lost in the landscape. Bradley has received awards from the National Endowment for the Arts; Sonic Circuits VII: Walker Art Center; Museum of Contemporary Art Kiasma, Helsinki; Bienal de Arte Contemporaneo de Sevilla, Spain; and Hull Time-Based Arts, UK; Sandao Gallery, Xiamen University and VArts Center, Shanghai, China; radioCona FM, Ljublijana, Solvenia; WaveFarm, and Ricco Maresca Gallery, NYC. Bradley is a faculty emeritus from UMBC, visual arts, Baltimore, MD and lives in Raleigh, NC- USA.

https://urbantells.net/

3) Water Feature - Various Birds - 04 miniature quail

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/
Ross Whyte - Misophonics #1

6 September 2026 7:00 am - 7:30 am

Misophonics #1 is the first in a series of works which utilise recordings of unwanted, unpleasant, or distressing sounds (in this case a screeching seagull) and are transformed into ambient compositions. The project is inspired by my experience of misophonia (a disorder in which certain sounds trigger a fight-or-flight response) and the need to find control over sonic triggers, and to find beauty in something ugly.

Artist bio:

Ross Whyte is an award-winning Scottish composer who writes for film and theatre. He completed a PhD in Musical Composition at the University of Aberdeen. He later co-founded the duo WHYTE, an ambient electronic act known for modernising traditional Gaelic songs. The duo won the prestigious Scottish Gaelic Award for Arts and Culture in 2019. Ross currently performs with A New International.

His new album 'Provenance' is out now.

Website/social links

https://www.facebook.com/rosswhytemusic
https://www.instagram.com/rosswhytemusic/
https://www.rosswhyte.com/
Bob Wilson - Centre of Gravity, Depth of Field

6 September 2026 7:30 am - 8:00 am

On a remote Cumbrian estuary, we can hear acoustic evidence of war games and territorial machinations. Across the spectrum of frequencies, we cross the three rivers that meet the littoral zone of the Irish Sea, where the wayfarer, tourist, and resident zig zag blindly across the water, land, and airspace, in search of resolution and meaning. The estuary and its surrounds are populated by greenshank, wigeon, oystercatcher, geese, curlew, heron, cormorant, gulls, corvid and the elusive natterjack toad, who collectively sound out a multispecies milieux, fighting for survival, or just having a laugh. Engulfed by trains, trains, and prevailing so'westerly winds, the ecology is illuminated by uranium-filled flasks rumbling past, fighter jets patrolling the skies, and MOD shells firing into the sea.

Artist bio:

RL Wilson is an artist, researcher, and producer who predominately lives and works in west Cumbria, where he runs the platform RE Drift. Wilson's practice is multidisciplinary, collaborative, and socially embedded - focusing on liveness and place - working with, and combining sound, text, performance, and the moving image. He holds the current title of Egremont Crab Fair's Gurning Champion and pays regularly visits to time traveller Michael Moon's bookshop. These activities he is immensely proud of, as they highlight both the ugliness and beauty of this small portion of the earth.

Website/social links

https://redrift.net/rl-wilson/
https://www.instagram.com/irl.wilson/
Radiophrenia Shorts 2A

6 September 2026 8:00 am - 8:30 am

1 Emilie Mousset - Remue la Nuit (10:40)
2 Adrián Velasco – lespontanea (5:35)
3 Giovanna Turrini - ALL THIS CHATTERING AROUND. IN THESE FRACTURED TIMES (12:36)

1) Emilie Mousset - Remue la Nuit

Written and composed for Ondes de nuit#2 on the occasion of the winter solstice, at the invitation of Radio Canut. Broadcast on 21 December 2024 on Radio Canut 102.2 FM in Lyon (Lyon), for an entire night of live airtime. The proposed theme was ‘the longest night’. From this simple phrase emerged a text, oral and rhythmic, a poem that I recited and set to music in an intimate form. The title is a distant reference to Henri Michaux's text ‘La nuit remue’ as well as a kind of playful call, an invitation to the night, to continue and vibrate as long as possible. The piece was then selected for the Supersonique festival in Marseille and performed to an orchestra of loudspeakers on Sunday 7 September, during a day of concerts and long-distance listening, from noon to midnight, at the GMEM.

Emilie Mousset is a sound artist and electroacoustic composer. After studying literature and dramaturgy, she trained in sound techniques at the INA and in electroacoustic composition at the CRD in Pantin (France) with Christine Groult. Her work combines radio and musical writing with broadcasting devices that favour listening in specific contexts: concerts of acousmatic pieces, installations in public spaces or landscapes. She also composes for the performing arts and visual arts, and regularly collaborates with directors, musicians and visual artists. She is a trainer at the INA (Paris) and runs workshops for a variety of audiences (schools, hospitals, prisons, etc.).

http://www.emiliemousset.net
https://emiliemousset.bandcamp.com/
https://soundcloud.com/emilie-mousset/

2) Adrián Velasco – lespontanea

Some captions published on a private Instagram account were verbalizing many thoughts that I hadn't yet been able to formulate.
This piece collects some writings by @rosello.alba, attempting to find that curious point in her texts where the chaotic nature of the micro manages to balance with the coherent nature of the macro, without taking away the work's virtue of spontaneity.

Adrián Velasco (2002, Malaga - Spain) is a composer and multimedia artist based in Hamburg. His work is characterized by a fragmented and maximalist language that investigates the dialogue between contemporary and pop/urban aesthetics. Attentive to the concerns of his generation, he addresses issues related to Internet culture, multiple identities and privacy in the digital age. His pieces have been performed in renowned national venues such as the Auditorio Nacional, Ateneo de Madrid, Museo Reina Sofía, Teatro de la Zarzuela, Centro Cultural Villa de Nerja, Sala Berlanga, among others.

adrivelasco.com
@adrivelaasco

3) Giovanna Turrini - ALL THIS CHATTERING AROUND. IN THESE FRACTURED TIMES

Sonic narrative about the rift between anthropogenic noise and non-human planetary pulse, weaving together (see credits) hydrographic datasets, vocal compositions/experimentations from Ezra Pound, the logic of the algorithm vs. art possibility, ending up with the "Comédie humaine" of world-famous line Ridi, Pagliaccio/Laugh, You Joker juxtaposed with democratic protest.
AI-TTS generated voices set against human vocal composition/experimentation. Certain hydrographic files, breath, final humming are processed by the Po River’s urban shores through the static amplifier Vaiacube made out of the resonating red spruce of the Vaia Storm destroyed "Violin Forest" (Dolomites).
Further sounds/voices include original gramophone sound, river rowing training, plastic cork rhythmics, error signal, wood amplifier caressing.
The work challenges the present algorithmic logic and (social platforms') chattering intertwined with the human and non-human perilous, present condition, singling out waters (and sound) as the connecting agency beyond borders and species.

Giovanna Turrini – BRIDGES – she/her, M.A.: Venetian vocal inter-media composer and sound researcher, registered Music Composer at SIAE (Italian PRS) since 2004. With a solid academic backup (Venice, Seattle, Düsseldorf) and proven experience managing complex projects (budgets up to €20k), her work focuses on acoustic authenticity through a three-octave vocal range, original hydrographic datasets, own field recordings, and A.I. critical experiments (no use of audio libraries/presets/plugins).
Her productions include works featured by Goethe-Institut Turin, Jewish Community of Turin/Regione Piemonte, Poetry Biennale Alessandria, and Festival CHIGIANAradioarte.it 2025. In 2026, she is scheduled for a monographic series (four "studiezondag") on radioarte.it.

new.express.adobe.com/webpage/Rkel3QrhISiEv
http://www.youtube.com/@BRIDGES-giovannaturrini
bridgesgiovannaturrini.bandcamp.com/
http://www.linkedin.com/in/giovannaturrini
Radiophrenia Shorts 2B

6 September 2026 8:30 am - 9:00 am

1 Yonca Yildirim - cyanea lamarckii (9:52)

2 Aled Simons - Hover-bored (05:20)
3 Sylvain Souklaye - instant + instinct + absence (4:41)
4 Frontera Glaciar - Fantasma Azul Imaginario (10:00)

1) Yonca Yildirim - cyanea lamarckii

This sound work 'cyanea lamarckii' is understood as an exploration of a drift of a blue jellyfish toward its final destiny on the shore, moving from the distant sound of the waves to the subtle resonance of shells beneath the water, and finally to the last drops of water on the sand. The sound piece itself is not a chronological narrative of this event, but rather examining the awareness and consciousness of time.
A sonic deterritorial experience culminating in the jellyfish’s demise. The beach as a place of foreign space of alienation and impuissance. The wave as a force that dissolves sonically into space, an oceanic gesture revealing both the beauty and danger of nature.

Yonca Yildirim (1993, based in Cologne), part of the Mimosa Collective and séances
sonores, works across installation, photography, and sound at the Academy of Media Arts
Cologne. Her works emerge from the exploration of diverse materials and the interplay of components, incorporating layers, reflections, and transparencies as well as elements of fragmentation and abstraction.

https://www.instagram.com/yonca.yil/

2) Aled Simons - Hover-bored

Hover-bored—written and narrated by Aled Simons—offers an imagined conversation with a real-life Marty McFly impersonator. An urge to ask this lookalike about growing up, and his relationship to past, present and future. Spiralling through speculative future fashions, time capsules on TV, Blue Peter in 1971 and Y2K. Zombie websites, link rot and the tomb of Saint Walpurga. The work observes the parallel space of doppelgängers and fakes. What imitations reveal about their counterparts, and vice versa, questioning if a counterfeit holds its own authenticity or remains just a reflection—an echo. An attempt to decipher what we choose to remember and how we decide to venerate; in what way should we dispose of that which we wish to forget? Specially adapted for radio, Hover-bored was originally commissioned by Nick Davies for forthcoming publication ‘Y Dyfodol Presennol / The Future Present’ set for release in 2026.

Aled Simons' practice investigates anecdote, pseudo-science, ritual and memory. He often employs looping or repetition: animated gifs and half-forgotten memes. Early 1990s television and its specific place at the shift between analogue broadcast and on-demand viewing. Occupying a space between the tension release of a laugh and the awkwardness of things that go on too long or fall flat and fail. An attempt to preserve a skewed legacy of humankind; amassed debris at the shoreline after a catastrophic wave has wiped out most of what we once knew, or half-remember—re-interpreting or misunderstanding the idea of an heirloom.

https://www.aledsimons.com
https://www.instagram.com/aled.simons

3) Sylvain Souklaye - instant + instinct + absence (4:41)

INSTANT + INSTINCT + ABSENCE is unfiltered and untreated.
The more I listen to the noise of tyranny, the less I can process it. I decided to improvise around immediacy, intimacy, and the raw nature of sound, thought, and voice, and to develop a language of resistance.

Sylvain Souklaye is a French-Caribbean, Brooklyn-based live artist and public researcher whose practice activates epigenetic dialogues and democratic interactions in public space through performance, action poetry, electroacoustic and spatial audio, and collective intimacy experiences. His socially engaged and politically radical work has been featured internationally at Chelsea Factory, Judson Church, New York Live Arts, Center for Performance Research, IRCAM, the Barbican, Bibliotheque Nationale de France, Performance Philosophy Biennial, and Ars Electronica, among others.
He is a recipient of the Puffin Foundation Theater Grant 2025, fellow at Harvestworks 2025 and Target Margin Theater 2024, commissioned by International Contemporary Ensemble 2024.

https://www.sylvainsouklaye.com
https://www.instagram.com/sylvain.souklaye/
https://sylvainsouklaye.bandcamp.com

4) Frontera Glaciar - Fantasma Azul Imaginario

In Fantasma Azul Imaginario (Imaginary Blue Ghost) an experiment with sounds is developed to create a project based on a real case.

In March 2020, news broke of a sei whale stranding in the waters off Tierra del Fuego (Patagonia, Chile), and the incident was closed without anyone being held responsible. Ignacio (Frontera Glaciar), who has lived in the region his entire life, read the shocking news, conducted an investigation, and developed a project that seeks to bring to light, through voices and Patagonian marine spaces, the case that left suspicions about what really happened to this marine animal.

Frontera Glaciar is a sound artist, performer, experimental musician, and DJ from Punta Arenas who blends Patagonian soundscapes with diverse voices. His work encompasses radio art, music production, sound experimentation, and live performance. He has created the shows “Fantasma Azul Imaginario” (2023) and “Fantasma Antártico Gris” (2025), which focus on science and daily life in Magallanes. In 2024, he released the ambient and experimental EP “Patio Nevado.” His concerts integrate synthesizers, machines, MIDI controllers, vocals, and sound objects, creating a playful and unique performance.

https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
Hannah Kemp-Welch - Sunspots and Earth Static

6 September 2026 9:00 am - 10:00 am

Electromagnetic waves fill the universe, radiating from solar storms and bursts of lightning. Using simple, DIY tools, we can transduce these very low frequency (VLF) radio waves into sound. This is nature’s radio. In this piece, we hear from artists and VLF enthusiasts Alyssa Moxley, Dan Tapper, Hannah Kemp-Welch, Matt Parker, pantea, Rob Stammes, Sébastien Robert and Stephen P. McGreevy, who share stories of listening across decades and continents.

Artist bio:

Hannah Kemp-Welch is a sound artist working through social and collaborative practice, often in community settings. Her work frequently uses analogue technologies such as radio transmitters and mechanical cameras, valuing their openness to collective experimentation. Recent projects include 'All Under One Magnetosphere', a BBC Radio 4 feature produced with Oliver Sanders, and 'Listening Transmissions', a community project and radio installation for Museo Thyssen-Bornemisza, Madrid. She is a member of Shortwave Collective, an international feminist radio art group.

Website/social links

https://www.sound-art-hannah.com/
https://www.instagram.com/soundarthannah/
Action Pyramid - remnant horizon

6 September 2026 10:00 am - 10:30 am

A sonic tribute to Crossness Nature Reserve, a fragment of ancient marshland that once stretched from Woolwich to Erith on the River Thames. Serving as a refuge to some significant and nationally rare species the site’s diminutive size and open appearance belie the fact that through patient looking and listening a richness of place slowly reveals itself. Originally commissioned for Three Rivers Bexley, remnant horizon platforms the voices of this place - human and more-than-human - interweaving sounds from the reserve’s inhabitants with reflections from activists and advocates whose care and dedication sustain it. Their voices express a profound connection to the land and a commitment to its protection. Set against the ongoing threat of industrial redevelopment, the work carries a constant sonic tension, with human activity lingering at its edges. Sadly since its creation, expansion of neighbouring waste incinerator infrastructure has been approved, intensifying the loss of this landscape.

Artist bio:

Working under the name Action Pyramid, Tom Fisher's projects vary from site-specific sound installations for galleries and museums, to experimental sound works, radio, documentary film and music. Utilising a multitude of recording techniques, often aimed at exploring and re-interpreting the seemingly unnoticed and unheard elements of our surroundings, he looks to present compositional and spatial expressions of these phenomena in a way that attempts to offer up alternative perspectives regarding perceptions of scale, hierarchical bias and the interconnectedness of living things. He has performed and exhibited his work internationally and attended residencies in Colombia, Iceland and the Finnish arctic.

Website/social links

https://www.actionpyramid.com/
https://www.instagram.com/actionpyramid/
Radiophrenia Shorts 61A

6 September 2026 10:30 am - 11:00 am

1 Parker Weston - Bloom Where You're Planted (13:29)

2 Lin Culbertson - Poetic Iteration (7:46)
3 Masha Kouznetsova - moscow recordings (13:33)

1) Parker Weston - Bloom Where You're Planted

Slight granulated radio sample collages triggered by a ROMpler keyboard with different samples designated to different keys, culled from both public broadcasts and private EMF/RF sniffers used in local (Phoenix) field recordings.

Experimental sound / multimedia visual artist involved with live Arizonan ritual ambient/dance theater group Butoh Sonics, Schadenhaus (industrial concrete noise), Smogma (free improv/kosmische), correspondence plunderphonics duo Sugar Pills Bone (with Teuthis Galore of Orb Tapes) and solo projects Stembreo (rhythmic noise), The Ɔrinkles (zolo/mashups/free improv),THE IDE OF EARTH (harsh noise wall), Dummy Rifle (power electronics), and Wretch And Reel (horror tape noise), to boot.

pkwst.bandcamp.com

2) Lin Culbertson - Poetic Iteration

"Poetic Iteration" is a sound composition that melds an ambient analog soundscape with the recitation of poet Yuko Otomo. Although the two sources of this composition were recorded separately and at different times, when overlaid on each other, a unique sonic quality emerged. The evocative spoken words and their interplay with the melodies and environmental sounds, imbues the work with an eerie soundtrack-like quality. A kind of score of a film that does not yet exist.

Musician and composer Lin Culbertson’s experience as an improviser greatly informs her sound work. Her compositions are comprised of synthesized sounds, field recordings, and conventional instruments. They incorporate aspects of improvisation and indeterminacy in their creation, arrangement, and performance. She is a founding member of the improvisational unit WHITE OUT, and has performed and recorded with a wide range of artists, most notably Tom Surgal, Jim O’Rourke, Thurston Moore, and Nels Cline. Her most recent release is an album on the Daksina label under the pseudonym lin11c entitled TED - Teenage Engineered Daydreams (released 12/16/2025).

https://linculbertson.net
https://whiteoutinc.com

3) Masha Kouznetsova - moscow recordings

Moscow recordings is an ongoing multidisciplinary research and documentation project emerging from the field recordings I collected during returns to my home city amid escalating repressions that force verbal communication into doublespeak. The current iteration of moscow recordings is a pathway through the city’s ambiance and a search for the sense of ground within its landscapes, personal and collective voices, resistance, and un/belonging within divided spaces. The sounds of the city were recorded directly to cassette tapes; the voices come from found homemade cassette recordings of an obscure quasi-religious radio program. These recordings were spliced, looped, and manipulated by hand. The process of fragmenting and distorting the radio voices became a cathartic, intimate intervention––a kind of breaking down of the wall of violent noise. Many thanks to a Moscow artist who gifted me found tapes with the recordings of the radio program which I used for this piece.

Masha Kouznetsova’s work brings together analogue sound processes, performance, sculpture, and drawing/printmaking, with a focus on portable studio practices, salvaged materials, and site-responsive installations. Masha’s practice and research are grounded in personal experiences of transience and the search for im/perceptible connections within/between geographic and cultural worlds she moves through. Born in Moscow, Russia, Masha received her BFA from Georgia State University in 2012, and completed her MFA in 2023 at Western University in London, Ontario where she is currently pursuing a PhD in Art and Visual Culture.

http://www.kouznetsova.cargo.site/sounds
instagram: @mashakouznetsova
Radiophrenia Shorts 61B

6 September 2026 11:00 am - 11:30 am

4 Yisong Piao - Apparizione Del Silenzio (6:44)

5 nazanin oghanian - milky uniform suspension (6:30)

6 Jason Bolte - M47 (7:24)

7 Cristian Gabriele Argento - 37.473686,14.075105 (1:00)
8 Jamie Lemoine - in-between (3:04)

4) Yisong Piao - Apparizione Del Silenzio

Apparizione Del Silenzio does not contain “silence” itself—at least, not in the conventional sense of an absence of sound. Instead, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum, the friction between air and metal, the dissipation of sound waves in space—those margins of sound that are ignored, inaudible, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing, silence ceases to signify absence and becomes another mode of existence. The piece is written for tenor saxophone and electronics, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence. (*This is Fixed media version)

Yisong Piao is a composer specializing in electro-acoustic and instrumental music based in Seoul, Korea. He is the researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA).
His works have been showcased at prestigious events like the International Computer Music Conference (ICMC 2023，China；ICMC 2024 Korea；ICMC 2025 Boston) in China and Korea, highlighting his innovative approach to integrating real-time computer processing with traditional instruments.
His recent focus is on exploring microtonality and the possibilities of algorithmic approaches in composition.

http://www.piaoyisong.org

5) nazanin oghanian - milky uniform suspension

Every month, I waited to receive the injections on one side of a hospital curtain, listening to the fragmented sounds of a nurse mixing and preparing the medicine and the needles. The title, ‘milky uniform suspension,' is the technical description of the correct viscosity of the hormonal liquid I could hear being prepared. ‘milky uniform suspension' focuses on the ways in which those sounds of what I could not see evoked my imagination, and how this continues to be folded into my memories of the medicalization of my body.
In this work, you hear the sounds of some found objects through which I studied, explored, and examined in a performative act. This is part of ‘Patient #17301’ series which unpacks the layers of control related to the medicalization of my body, through through my childhood experience of being treated for ‘precocious puberty’ — pubertal development earlier than clinical normative age.

nazanin oghanian is a multidisciplinary artist and experimental filmmaker. nazanin’s work is rooted in critical reflection on themes such as body, identity, gender, memory, politics, and the ongoing tension between the individual and society. Their work explores how power structures manifest in the control of women’s and queer bodies, particularly through the medicalization of reproductive health. Working mostly with sensory stimulative installations, they are interested in discrete components of the auditory, visual and gestural aspects of memory and control. They are based in Glasgow, Scotland, and Vancouver, Canada.

6) Jason Bolte - M47

M47 is an electroacoustic work inspired by an image of the Phantom Galaxy captured by the James Webb Telescope.

Jason Bolte is a composer and educator. Jason teaches music technology and composition at Montana State University where he serves as the Director of the School of Music. Jason’s music explores the North American mountain west, modular synthesis and live performance, intersections of music, art, and science, and spaces he finds compelling.

http://www.jasonbolte.com

7) Cristian Gabriele Argento - 37.473686,14.075105

This work originates from a personal experience in the Sicilian countryside and opens onto a universal listening space where memory, geography, and perception intertwine. Created using contact microphones placed on an olive tree, it explores the hidden sonic dimension of a landscape shaped by the warm breath of the sirocco wind. From the trunk emerges a deep, resonant flow — the voice of the wood bending under pressure — while the branches reveal subtler textures, like flowing water. In Sicily, a land increasingly affected by drought, this sonic quality gains a stronger meaning, evoking movement and life within an arid environment. Rather than a document, the piece is an intimate and abstract sonic photograph of place. Here, nature and technology meet in silence, turning listening into a political gesture that gives voice to what is fragile and absent, and invites reflection on care for land and water.

Born in Catania in 1998, Cristian started to make music as a self-taught at the age of 14. His interest in new technologies applied to music was born in high school, studying subjects such as electronic and computer science; during this period he did some extra school courses about new technologies and electronic music. After his high school studies he decided to make of electronic music his future so he decided to enroll at the conservatory of Palermo. Currently he attends the second year of the Master course of electronic music at the conservatory of Palermo.

8) Jamie Lemoine - in-between

This piece takes sounds sampled from a home tape recording made around 1959 and deconstructs them, looping parts and playing with their pitch. The recording is juxtaposed with deconstructed elements sampled from a classical score conducted by Leonard Bernstein and the New York Philharmonic Orchestra a few years later in 1961, Debussy’s “Prélude à l'après-midi d'un faune” (Prelude to the Afternoon of a Faun). This piece by Debussy, originally composed in 1894, is considered to be a turning point in classical music and has been widely influential. The home recording was made around the time rock and roll was emerging, just prior to groups like The Beatles, Jimi Hendrix and many others who changed the course of modern music.

Jamie has worked with music and sound for several decades. An album he produced won best rap album at the California Music Awards in 2004. Jamie is now focused on creating experimental music and sound compositions, often including field recordings and found footage. The Irish Museum of Modern Art commissioned an original soundscape composition by Jamie in 2024, responding to an ecological site located in the grounds. A site-specific music composition of Jamie's was selected for inclusion in Sound Walk Berlin as part of the Month of Contemporary Music Berlin 2023.

instagram: @pond.studios
website: https://www.pondstudios.com/music
Buffer Zone

6 September 2026 11:30 am - 12:00 pm

1) Paul Nataraj - ACK STREET (12:03)
2) Suk-Jun Kim - Sealed to Become (5:42)
3) Tony Morris – A Bee at night (1:00)

1) Paul Nataraj - ACK STREET

One of several made during my artist residencies for the 'Contested Desires: Constructive Dialogues' project in Budapest, Hungary and Newcastle UK. They include interviews which I conducted with members of the community groups 'Mira Haus' in Budapest and 'Sangini' in South Shields, a Black and minorities women led community arts project who I had the honour of working with.

The pieces bring together, field recordings, found sound, interviews, AI generated voices and spoken word elements as a response that is exploring the contemporary legacies of imperialism and colonialism, to consider how this sounds in the present moment. The works engage with the memories of migration, hidden stories and notions of belonging.

2) Suk-Jun Kim - Sealed to Become - From Humming (CD)

‘But most of all, humming is special among the vocalic sounds in that it is specifically directed inward, more than any other sounds. The natural omnidirectionality of the voice is hampered by the mouth shut, lips sealed, which reflect humming back to the self and amplify the function of hearing, listening in. In this way, humming always swirls toward the interior initially. And again, in this regard, the closed mouth and its sealed lips are functioning like a mirror; but unlike a mirror, they are not there to materialise the aural image, but to drive humming toward the interior. If the gaze is the scoping object, perhaps the hum is a hearing-listening object, or object h…’ – Humming by Suk-Jun Kim (2019)

Biog
Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

3) Tony Morris – A Bee at night

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.

https://www.instagram.com/tonymorrisssss/
François J. Bonnet - Collapsing Aether: an audio-drift through the unreachable

6 September 2026 12:00 pm - 12:30 pm

Collapsing Aether, as its title suggests, seeks to explore the concept of aether. Taking the form of a sonic drift, the piece navigates between the various incarnations and manifestations of the aether, from its primordial mythological form to the mysteries of dark matter. Through its various phases of substantiation, from ancient philosophy and traditional wave and gravitational theories to quantum physics, the work revolves around an elusive element and invites reflection on the challenges, limitations and promises of the unrepresentable.

Credits:
Text, sounds and music by François J. BONNET
Narrated by Lucy RAILTON
With quotes by: Diogenes Laërtius, Henri Poincaré, Henri Michaux and Albert Einstein.
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:
François J. Bonnet is a Franco-Swiss composer, writer and theoretician based in Paris. He’s been a member of INA GRM since 2007 and became its director in 2018. He has published several books: The Order of Sounds, The Infra-World, After Death (Urbanomic) and The Music To Come (Shelter Press). He’s the co-editor of the SPECTRES book series (Shelter Press) and the Recollection GRM and Portraits GRM record series. He also produces radio shows for France Musique. His music, often presented as Kassel Jaeger, has been played in renowned venues and festivals all over the world.

https://kasseljaeger.com/about/
NOGR collective - Fossils of slow violence

6 September 2026 12:30 pm - 1:00 pm

Fossils of Slow Violence is a collective project created during the ongoing war in Ukraine. This broadcast presents its sound component. It is an attempt to apply decolonial logic to the current war of conquest — a war with a deep historical and colonial dimension.

A fossil is any preserved remains, impression, or trace of any once-living thing from a past geological age. We conceptualise this notion to frame the process of preserving remains left by the exhaustive industrialization and devastating war — plants, animals, humans. Their remains may be found in hundred centuries as memory of the devastations imprinted on the body of the earth. In hundred centuries the earth will recycle these remains into fossil minerals, which the US is trading for now. The land is under ruins, the soil is deadly toxic, but future of minerals are already resolved. It seems that US-Russian “superpowers” are dividing “the skin of the unkilled bear”. “Ukraine’s land, its geological composition, its agrarian capacities, and its population [have] become commodities”

The soundscape consists of sounds of industrial extraction, mining operations, urban life during wartime, and audio from the front line of combat.

link: http://www.nogr.me/fossilsofslow_violence

Artist bio:

Nogr is an artistic and research collective. In 2022, the NOGR collective underwent a radical transformation. Today it is an open structure that still resists personal authorship, while manifesting personal responsibility for utterance and action. Our sustained work with political imagination and cross-border interaction no longer holds practical value within its original frame, as the return of "the right of the strong," imperialist war, and the maximization of information slop erases such statements and strips them of any practical dimension. Today we must build the preconditions for resistance, for pushing back against aggression and inequality — at the very least within the culture we can reach. We believe it is now necessary to focus on practices of "radical care," on images of resource redistribution through the loss and transformation of one's own identities (rather than their defense). Images of commonality within migration, exile, struggle, and horizontal support — this is our cultural goal. We understand that artistic research is a weak foundation for such a manifesto. Still, our attempts and our work will be directed at exactly this. We still believe that difficult questions and artistic images can contribute to positive change. An emerging decolonial optics within culture drives the disintegration of imperialist narratives, alongside support for the total necessity of the dissolution and destruction of empires as such. The colonizer's language cannot be decolonized from within its own grammar — which is why we believe it is now essential to change (to live through disintegration) ourselves as well.

Website/social links https://nogr.me
Radiophrenia Shorts 18A

6 September 2026 1:00 pm - 1:30 pm

1 Alejandro Tux - Ecos de pólvora (9:35)

2 Nathanael Jones - autobody (001-005 transatlantic metamix) (14:15)
3 Tristan Rhys Williams - Llech-Tal-Môn (Pen Llech) (17:02)

1) Alejandro Tux - Ecos de pólvora

The work explores the ritual, everyday, and festive use of fireworks in Tepoztlán, México, focusing on their acoustic relationship with the natural and urban landscape. Firecrackers, present during patron saint festivals and processions, are understood as vibrations that travel across hills, ravines, and bodies, symbolically activating collective space. The piece investigates how these detonations not only interrupt the environment but reveal the acoustic geography of the territory, transforming according to vegetation, humidity, topography, and local architecture. Based on field recordings captured from multiple locations, the work takes shape as a sound composition that renders audible what often goes unnoticed: distant echoes, resonances between mountains, and the charged silence that follows the blast. Through editing and electroacoustic processing, fireworks are reconfigured as a vibratory language articulating body, ritual, and territory, proposing an expanded listening of the landscape.

This work was developed with the support of the Entornos Sonoros Call by the General Directorate of the Fonoteca Nacional, Secretaría de Cultura of Mexico.

Alejandro Tux (Mexico City, 1984) works at the intersection of sound art and mycology. His sonic practice explores auditory experience through acoustic amplification, synthesis, magnetic tape, algorithmic composition, microtonality, sampling, multichannel audio, and field recording. He has studied philosophy and sociology of music, sound art, phonography, soundscape studies, and digital audio programming with free and open-source software. Since 2004, he has been active as an artist and promoter in Mexico’s experimental music community, coordinating the independent label Campo Abierto. Since 2010, he has documented and cataloged macroscopic fungi in central Mexico, collaborating on genetic-based taxonomic research.

https://www.alejandrotux.com/
https://www.instagram.com/alejandrotux/
https://www.facebook.com/alejandro.tux.tux

2) Nathanael Jones - autobody (001-005 transatlantic metamix)

On the morning of December 29th, 2024, a heavy fog set in. The flight was delayed, then cancelled. The residency and subsequent exhibition in jeopardy. It rained, and the rain and the money spent and the earliest flight coalesced around a performance/play text inspired by conversations had with a collaborator and friend. What we really talk about when we say things like, “gig economy,” or, “late capitalism,” is that the imperative to labour longer, more efficiently, and for lower pay is inherently skewed towards impotent economies of self-care, gender and race-based social death, and the tragedy of the commons played out at scale and across physical and virtual realities alike—indeed, there is no meaningful articulation of this division left. Overdevelopment signals a divergence within the praxis our progress narratives give rise to, an uneven reallocation of resources, value, and opportunities. In a feedback loop, attention attenuates ad infinitum.

Nathanael Jones is an Afro-Caribbean Canadian writer and artist. Born in Montreal/Tiohtià:ke, he holds degrees from NSCAD University and the School of the Art Institute of Chicago. Jones is the author of the full-length poetry collection Aqueous (The Porcupine’s Quill, 2024) and three chapbooks, Category Five Hurricane Alexa (Gordon Hill, 2025), La Poésie Caraïbe (Damask Press, 2018), and ATG (HAIR CLUB, 2016). His work has been exhibited and performed across North America and the United Kingdom, and has been published in DREGINALD, Ghost Proposal, Aurochs, Heavy Feather Review, TIMBER, Action, Spectacle, and Poetry Magazine.

https://linktr.ee/NathanaelJones
https://www.poetryfoundation.org/poets/nathanael-lee-jones#tab-poems

3) Tristan Rhys Williams - Llech-Tal-Môn (Pen Llech)

These are companion ambulatory sound works on Ynys Môn, designed as slow walks through landscape, listening, and deep time. Hauntological in character, they approach place obliquely—through echoes, textures, and residues rather than clear narrative—treating movement itself as the work’s focus. The pieces are distinguished by their recording sites: Lôn-y-Bwbach near Llanddyfnan, layered with historical and folk memory, and the beach below Castell Mawr at Traeth Coch, where tides, river flow, and birds shape an exposed acoustic field. Across both, field recordings intertwine with the artist’s compositions and worn fragments of Welsh song, appearing like eroded sonic artefacts. The shared title draws on the myth of Llech-Tal-Môn as preserved and elaborated by Wil Ifan o Fôn in Bonedd y Cymru neu Lyfr Hynafion Byd, which describes an ancient cave system imagined as secretly linking road, farmland, hill, and coast—an unseen subterranean architecture mirrored in the works’ shifting, tunnel-like sound world.

Tristan makes soundworks based on the psychogeographic charge from Ynys Môn (the isle of Anglesey). They work towards a ritualistic, degraded aesthetic informed by the elements and ancient sites in the environs. Recent works have appeared on the ‘Listen to the Voice of Fire’ collections: ‘The Shining Pyramid’, ‘The Surface of Past Time’ and 'Dylan Eil Ton'. Discreet Archive released YrbrydMôn in 2025 and Tristan collaborated with poet Rhys Trimble on the album Ynys Dywyll released by Ty Cerdd.

https://tristanrhyswilliams.com/
https://www.instagram.com/trissyrhys/
Radiophrenia Shorts 18B

6 September 2026 1:30 pm - 2:00 pm

4 Water Feature - Various Birds - pond bather (1:11)
5 Juliette Liautaud – Infraordinaria (17:41)

1) Water Feature - Various Birds - pond bather

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/

2) Juliette Liautaud – Infraordinaria

Infraordinaria is an electroacoustic composition made of field recordings of ultra sounds of bats, sound objects, gongs and synthethizers, dealing with the infra ordinary existence of minimalistic variations we sometimes experiment in natural environments, when the days are elonging. It is a slow journey into almost invisible presences underlined by a minimalistic instrumentation. Played on acousmonium, this is a stereo version of the piece for radio.

Juliette Liautaud is a visual artist and electronic musician based in Marseille, France. She makes electroacoustic compositions, photography and films, and is the co-funder of the publisher Stereo Editions.
She has played her music under the moniker Lull and is a resident of independent radios Station Station and Lyl radio.

julietteliautaud.com,
Instagram.com/juliette__liautaud
Jacob Dwyer - Tom's House

6 September 2026 2:00 pm - 3:00 pm

In Tom’s House, we listen to the diaristic meanderings of a man who’s returned home for the first time in 15 years. Walking up Haddon Drive he spots the house of an old friend, Tom. The front door is open, so he goes inside. Wandering around the empty Tudor cottage –making cups of tea, rearranging CD collections and zoning in on the minutiae of domestic space– he ruminates on ideas of emotional intimacy, friendship and grief.

Tom’s House is a one person performed audio-drama that it incorporates voice, live foley, field recordings and an original soundtrack composed by K. Freund, Kareem Lotfy, Zuza Banasińska and Jacob Oostra. It was released earlier this year on Amsterdam/Paris based label, South of North.

Artist bio:

Jacob Dwyer is an artist based in Amsterdam working with audio, moving-images and writing. His work often centres around personal encounters that could equally be seen as fables or heresy. He has presented in art spaces, film festivals and music venues, including Cafe Oto (London), IFFR (Rotterdam), David Dale Gallery (Glasgow), Good Children (New Orleans) and De Appel (Amsterdam). In 2022 he released The Devil Museum on vinyl with Mana Records and has since published Notes on Devils with Building Fictions. Most recently he has released his new audio drama, Tom's House, on South of North.

Website/social links Website: http://www.jacobdwyer.com
Instagram: @jacobdwyer106
Tom's House Bandcamp: https://jacobdwyer.bandcamp.com/album/toms-house
Live Performance: https://youtu.be/E-W-FYg_WKI?si=mDyYnrgwzIWatb2F
Carla Boregas - Zona Morta: Wie fasst man ein Echo in Worte?

6 September 2026 3:00 pm - 3:45 pm

When women have secrets, social pressure often plays a role. The stories they need to hide can be similar all over the world: family problems, abortion, sexual abuse, relationships, intimacy worries. Brazilian sound artist Carla Boregas has collected audio recordings from over 70 women of different nationalities and age groups telling their secrets. Reflecting on the question “Can a woman’s voice telling a secret resonate on other voices?”, she played these secrets archive to singers Audrey Chen, Anjeline de Dios, Cansu Tanrikulu, and Paola Ribeiro. Carla Boregas then assembled their improvised reactions into a composition. Commisioned and Produced by Deutschlandfunk Kultur and ORF Kunstradio.

Artist bio:

Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation, her work spans composition, performance, sound installation and radio art. Boregas’ artistic trajectory encompasses performances and commissioned works presented at Rewire (NL), CTM Festival (DE), Le Guess Who? (NL), Akademie der Künste (DE), Festival Novas Frequências (BR). In 2022, she was awarded the European Broadcasting Union's Palma Ars Acustica prize for the composition "What Is Not / O Que Não Está" (Deutschlandfunk Kultur / ORF / CTM Festival), in collaboration with Anelena Toku and Martha Kiss Perrone.

Website/social links

http://www.carlaboregas.com
http://www.carlaboregas.bandcamp.com
Suk-Jun Kim - Welcome to Hasla

6 September 2026 3:45 pm - 4:00 pm

Suk-Jun Kim - Welcome to Hasla (11:10) (2007-8)

The Great Khan has dreamed of a city; he describes it to Marco Polo… and says: “Set out, explore every coast, and seek this city,” the Khan says to Marco. “Then come back and tell me if my dream corresponds to reality.” “Forgive me, my lord, there is no doubt that sooner or later I shall set sail from that dock,” Marco says, “but I shall not come back to tell you about it. The city exists and it has a simple secret: it knows only departures, not returns.”

Invisible Cities, Italo Calvino

Welcome to Hasla! A faraway land in which everything appears to be as strange as familiar; a place to which you have never traveled, yet one that resembles eerily every town you have visited before; a town at which as soon as you arrive, you realize that you have already left.

Welcome To Hasla is a 5-channel electroacoustic music that is loosely based on Italo Calvino’s Invisible Cities. Ever since I read the novel, I have been thinking about, dreaming about, and imagining about an electroacoustic music that can somehow realize any of the cities about which Marco Polo told King Kublai Khan. Each story about cities that Marco Polo deciphers is a metaphor for regrets, memories, relationships, and other human conditions that have been inflicted on a traveler, who is presumably Marco Polo—and eventually Khan as he is the listener of these stories and the King of all these cities. At first I thought about a piece based on one or a few specific cities described in the novel, but quickly came to a realization that what I have had in mind is not any city Calvino wrote in his storytelling, but a city that I was able to conjure up while reading his book.

Sungeun, my wife, wrote for me a list of 76 imaginary cities. Though the list bore only names, these names were intriguing to me. One particular name among these 76 names that caught my imagination as soon as I saw was Hasla. Strictly speaking, Hasla is not an unknown city. It is an ancient name for Gangneung, Sungeun’s hometown where I had spent my high school years and met her for the first time. However, the name had a more eerie and stranger vibe on me. And then, one day I dreamed of a writer:

I am imagining a writer, who has just returned from a city of which name is very slippery for him to remember. In the middle of a night, he wakes up from a strange dream. Trying to write about the city he has been to and dreamed about, a name suddenly occurs to him: Hasla! But, at the same time, he is no longer sure whether he actually made the travel or his dream has finally caught him for good!

Welcome To Hasla was commissioned by IMEB, Bourges, France, and composed at IMEB and VICC, Sweden.

Biog
Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

https://reddoorsound.com/
Radiophrenia Shorts 49A

6 September 2026 4:00 pm - 4:30 pm

1 Amanni Hassan Hollands - The Pearl Diver and The Sea (Joe Hirst Mix) (3:28)

2 Clemens von Reusner – SALIX (6:09)

3 Vincent Eoppolo - God is Weeping (3:40)
4 Toni Dimitrov - The Sound Inside the Fridge (5:32)

1) Amanni Hassan Hollands - The Pearl Diver and The Sea (Joe Hirst Mix)

Together with her father, artist Amanni Hassan Hollands examines early 20th Century pearl diving in the Persian Gulf, specifically the communities of migratory divers who - often enslaved or indentured - endured perilous encounters with the sea. Through the vocal performance of reciprocal poetry practice, ideas of language translation and transmutation between Arabic and English map onto potential communication thresholds between the human and non-human. The complex encounters of the divers with the sea is expressed through regional folk music called fijiri. Sampled throughout the work, it forms another strand of human vocalisation, often emulating the sounds and motions of the sea. Giving a voice to the sea helps express what is ambiguous and unresolved in relationships between the human and non-human. Perhaps through listening, a kinship can be found between the sea and the diver, where both have been exploited in the interests of that which wields greater power.

Amanni Hassan Hollands is a British-Emirati artist concerned with frameworks of identity and time associated with domestic archives. The material and oral histories uncovered from her own family archive are leveraged to examine the complex nature of mixed ethnicity, towards a feeling of belonging. Her practice is formulated through investigative methods, and the interrogation of what can be derived from this personal archive and via recording the narratives woven by storytellers in the family.

amanni_hh (Instagram)

2) Clemens von Reusner – SALIX

“Salix" originated from an acoustic observation of the branches and leaves of an old "Salix Alba Tristis" (white willow) gently moved by the wind. These movements create sonic gestures and textures, reflecting also the life-giving and increasingly scarce water within the plant.
The sound structure reveals spectral and temporal variations, which are further developed electronically. The formal proportions follow the golden ratio, evident in the intervals between the striking sounds.
This piece reminds us that not only this mighty tree but all living beings and the earth that supports them urgently need our care and mindful treatment today and in the future.

Clemens von Reusner, german composer (* 1957). His works of electroacoustic music and radiophonic audio pieces focus on both purely electronically generated sounds and sounds found in special places and processed in the studio. The work on sound itself, its arrangement and movement on individual tracks in the virtual acoustic spaces of multi-channel loudspeaker configurations are at the centre of his compositional work. He is member of the "Academy of German Music Authors". His works have been awarded with national and international prizes. They are performed at renowned international festivals for contemporary music.

http://www.cvr-net.de

3) Vincent Eoppolo - God is Weeping

Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

https://vincenteoppolo.bandcamp.com/
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

4) Toni Dimitrov - The Sound Inside the Fridge

The Sound Inside the Fridge is a close-microscopic sound study recorded from within the freezing compartment of a domestic refrigerator. By placing the recorder inside the confined, mechanical interior, the work exposes an otherwise hidden sonic landscape - low-frequency drones, compressor pulses, cracking ice, circulating air, and thermal shifts. The piece transforms an everyday appliance into an immersive acoustic chamber, revealing the intimate machinery of preservation and the subtle tension between coldness, isolation, and continuous mechanical life.

Toni Dimitrov is a Macedonian multimedia artist, cultural producer, curator, radio host, and label owner whose work interweaves experimental music, sound art, and field recording. Active for more than twenty years, he has developed a distinctive practice that moves fluidly between experimental composition, radio art, installation, video, and photography, often linking sonic exploration with social and political reflection. He has released numerous albums and EPs through different monikers and collaborations on labels worldwide, and has performed internationally at festivals, events, and residencies focused on experimental and contemporary sound practices. Dimitrov runs the imprint Post Global Recordings and curates Élan Vital Recordings. Through his long-standing radio programs on Kanal 103, he actively contributes to the global discourse on contemporary electronic music, ambient forms, soundscape composition, and critical culture. His work has been presented in exhibitions locally and abroad, including the landmark survey Audiosphere Sound Experimentation 1980–2020 at the Museo Reina Sofía, curated by FranciscoLópez. Dimitrov has also worked on projects addressing political readings of the media. He is currently director of the Cultural Information Center – Skopje.

elanvital.bandcamp.com
post-global.com
Radiophrenia Short 49B

6 September 2026 4:30 pm - 5:00 pm

5 Sanjay Majumder - Euclidean Horizons (5:30)

6 Ubu Kung - Insurrection Blues (5:20)

7 Bob L. T. Sturm - The Terms Remain (9:19)

8 Alastair Cavanagh - Subterranea (10:31)

9 Yifan Feng - 0.5cm to Milk Froth (8:17)

10 Water Feature - Various Birds - charnwood pigeon (1:21)

5) Sanjay Majumder - Euclidean Horizons
Euclidean Horizons is an experimental radio work that transforms algorithmic sound into immersive, meditative landscapes. Using Euclidean rhythms, layered synthetic instruments, and convolutional reverb, the piece creates evolving textures that mimic natural cycles and environmental resonance. Humanized timing and melodic motifs introduce organic variation within structured patterns, producing an interplay between predictability and spontaneity. Designed specifically for radio, it exploits stereo space, temporal layering, and spatial depth to engage listeners in a reflective auditory experience. Through its crystalline pads, expressive leads, and dynamic harmonic shifts, the work evokes the fragility and complexity of ecological systems, inviting audiences to perceive the subtle textures of sound as a metaphor for the environment. Euclidean Horizons is both an exploration of sonic geometry and a meditation on our relationship with the changing world.

Sanjay Majumder is an experimental sound artist and composer whose work merges technology, music, and immersive auditory experiences. With a foundation in acoustics, music technology, and computer science, he creates compositions that integrate algorithmic sound design, generative processes, and spatial audio, crafting multidimensional sonic environments that engage listeners deeply. His practice spans software-based composition and research-driven audio experimentation, exploring innovative methods to manipulate sound through real-time synthesis, convolution, and machine learning algorithms. His works often blend structured musical forms with abstract textures, challenging traditional notions of rhythm, harmony, and spatial perception.

6) Ubu Kung - Insurrection Blues
Insurrection Blues reflects on the next inevitable steps for a downtrodden world in turmoil.

Simon Coates is a London, UK-based multimedia artist. The founder of feted arts and activism platform, Tse Tse Fly Middle East, he also makes experimental work under his Ubu Kung pseudonym.

http://www.simoncoates.co.uk
http://www.tsetseflymiddleeast.org

7) Bob L. T. Sturm - The Terms Remain
Generative AI technologies, such as large language models and image and music synthesis models, are being made broadly accessible as online platforms sporting simple interfaces and cheap subscription plans. Each, however, comes with a Terms of Service (ToS) that is not so broadly interpretable. This composition provides an accessible interpretation of the ToS of a specific commercial prompt-based AI music generation platform. Careful Robert Ashley (1930-2014) has had a significant impact on my musical aesthetics since I became familiar in 1995 with his opera Improvement: Don Leaves Linda. He speaks like people I know (Midwest USA), assembles layers of text and subtext wonderfully, and has a unique style that I enjoy. So, I wondered, how might he interpret the ToS of Udio? Then I wondered: How well can ChatGPT and Udio mimic Ashley’s inimitable voice? This audio-visual work answers that question. I find the output of ChatGPT to provide a

Sturm is an Associate Professor in Computer Science at the Royal Institute of Technology in Stockholm, Sweden and a composer. He specialises in music informatics, AI and music. From 2020-2025 he led a large research project called MUSAiC: Music at the Frontiers of Artificial Creativity and Criticism.

https://bobltsturm.bandcamp.com/

8) Alastair Cavanagh - Subterranea

Those who inhabit the cities of this world spend an increasing amount of time existing inside of constructed interior environments. Publicly accessible infrastructure such as train stations and libraries, offices and retail facilities, and underground pathways that allow you to navigate below the surface of a city, all limit the amount of time necessary to spend in the exterior world while navigating an urban environment and the time spent interacting with the exterior spaces of a city seems to have become more of a transitional process necessary for movement between interior, constructed spaces.
Stemming from a late-night phone recording of an empty metro station, Subterranea is an ambient soundscape composition exploring the cathedral-like qualities of vast underground public spaces.

Alastair Cavanagh is a musician, sound artist, composer, and digital waveform manipulator currently based in Toronto, ON. His work encompasses music, sound design, soundscape composition, multi-channel installation, and interdisciplinary collaboration with fellow artists. Through his work he aims to capture the emotional qualities of sound design, revealing the hidden rhythms and melodies that lay beneath the surfaces of non-musical elements.

https://alastaircavanagh.bandcamp.com/
https://www.instagram.com/ingo_svaan/

9) Yifan Feng - 0.5cm to Milk Froth

A close recording of milk froth on the top of the coffee, 0.5cm away. It sounds electric—but not—but still electrified me. Bon appétit, with only one cup of coffee.

Sound is an unexpectedly acquired language for Yifan; perhaps it can say something through all her stammering.

Yifan currently studies at the Academy of Media Arts Cologne, where her artistic practice centers on documentary film and sound art. She is drawn to questions of (multi-)language and expression, the (anti-)archival image and its apparition, secrecy and its translation, love and its loss, and the sudden arrival of the past in the present.

https://shanghaioscillatorsgroup.bandcamp.com/
https://www.instagram.com/syi_ga/

10) Water Feature - Various Birds - charnwood pigeon
A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/
Victoria Sarangova - Archaeology Of Progress.Elista

6 September 2026 5:00 pm - 5:30 pm

This third part of the series is rooted in Elista, the capital of Kalmykia, where my family moved in 1992—making the common transition from a Kalmyk village to the regional center.
Starting with the first post-Soviet decade, I explore the modes of sonic subjectivity shaped by personal and collective experience. My aim is to generate something new—something that transcends the trap of mere nostalgic rummaging.
In this work, I blend fragments of memory with the sounds of Buddhist temples, public gatherings, MTV pop, political speech, early TV ads, and Kalmyk music and language. Together, they reflect the mix of Tibeto-Mongolian, Russian, and Western influences that shaped the region far beyond the purely sonic realm.

Artist bio:

Victoria Sarangova (*1985 in Kalmykia, a south-western Russian republic) works with sound, video, text, and embroidery. Her frequently site-specific installations explore progress, memory, and identity. She graduated with a BA in Performance Design and Practice from Central Saint Martins, London, and an MA in Art in Context from the Universität der Künste Berlin. Her work has been shown at venues and festivals such as Spore Initiative, CTM 2024, Kunstraum Kreuzberg/Bethanien in Berlin, and Sound/Image 2023 in London. Sarangova is a co-founder of the MU Collective, a group of artists from Kalmykia.

Website/social links https://sarangova.com
Archaeology description: https://sarangova.com/archaeology-of-progress-elista/
Buffer Zone

6 September 2026 5:30 pm - 6:00 pm

1) Tony Morris – Adjust - Your Baby's Gone (1:00)
2) miguel ángel meléndez campos - pedalando na memoria (10:38)
3) Gustavo Guzmán - If I must die / Si quiero vivir (7:00)

1) Tony Morris – Adjust - Your Baby's Gone

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.

https://www.instagram.com/tonymorrisssss/

2) miguel ángel meléndez campos - pedalando na memoria

This short sound documentary is part of a research project on white bicycles that began in 2020, based on field recordings made at the sites where these bicycles are placed and during demonstrations of tribute and mourning.
White bicycles, also known as ghost bikes, are monuments (or anti-monuments) installed at the location where a fatal accident involving a cyclist occurred.
Created from fragments of demonstrations/rides and the installation of white bicycles for the following individuals:
Liliana Castillo, on May 25, 2022, in Mexico City
Eduardo Lobato, on April 5, 2023, in Belo Horizonte
Fabrício Almeida, on April 19, 2024, in Belo Horizonte
These fragments seek to engage with memory, as well as to encourage reflection on traffic accidents in urban streets.

Artist bio: My artistic training centers on theatre, performance, clown, and sound art. Between 2016 and 2018, I performed with the clown group “Bichis.” In 2020, I was part of the virtual play Everything Is Connected to Everything, coordinated by Guillermo Angelelli. In 2021, I joined the residency of the International Field Recording Meeting at Lake Chapala, and in 2022, in Xalapa, I facilitated the listening workshop What If We Gathered to Listen? In 2023, I took part in a collective experimental music laboratory coordinated by the group Tramas and performed in two editions of “Quartas de Improviso” in Belo Horizonte, Brazil.

Website/social links https://soundcloud.com/miguel-melendez-743115900

3) Gustavo Guzmán - If I must die / Si quiero vivir إذا كان لا بد أن أموت /

Synopsis of piece: The project is simple—as all tributes should be—: an act of remembrance dedicated to the people of Palestine, especially its children and poets. Based on the principle of progressive resonance used in Trevor Wishart's "I'm Sitting in a Room," I perform a reverse operation on the poem "If I Must Die" by Palestinian poet Refaat Alaree (†2023), recited in Arabic by Ibrahim Yaghi. The work explores murmuring in its most painful sense: an imagined underground that attempts to resurrect the martyred poet from cavernous memory, restoring his words to a clarity as sharp as dawn. All of this is woven together with micro-sounds from the immediate mundane world, seeking to recover the meaning of the poem. This, incidentally, is not offered in Spanish, which is intentional: the beauty of the Arabic language and the powerful impact of the reality of the Palestinian nation should suffice to convey the message.

Artist bio: Gustavo Guzmán is a composer, artist, and researcher with an extensive transdisciplinary background. His sustained, research-driven trajectory underscores his long term commitment to using art and technology as tools for ecological resilience and social transformation through the lens of gesture. Professionally, Gustavo Guzmán has composed and produced for film, video, and theatre, and toured extensively across Mexico, presenting solo and collaborative sound poetry at large scale venues. Recent highlights include experimental music performances for Radio UNAM (2022-2023), research on situated experimental musical interfaces for the Global South (NIME LATAM 2025), and eco-acoustic collaborations with Tsonami sound-art collective (2025), among others.

Website/social links http://gustavoguzmancom.wordpress.com/

Paul Stan Nataraj & Masimba Hwati - Dust cartographies: Blackburn, Nottingham, Chernobyl

6 September 2026 6:00 pm - 6:20 pm

Dust Cartographies brings together two live performance activations that took place between 2021 and 2025 at the Cotton Exchange Building in Blackburn and Nottingham Contemporary. Emerging from an ongoing dialogue between Paul Stan Nataraj and Masimba Hwati, the work grows out of years of conversations on sound, migration, Indigenous ecological knowledge, ritual, and the politics of belonging.

Gathering fragments of these exchanges, the piece maps a sonic cartography of dust—as residue, witness, and archive. Moving between Blackburn, Nottingham, and Chernobyl, it traces the intertwined afterlives of industrialization, colonial extraction, and ecological damage, revealing how distant landscapes remain connected through shared histories of labor, contamination, and loss.

Interwoven with these broader histories are intimate reflections on friendship, migration, ancestry, and the search for home. Through voices, field recordings, and resonant silences, Dust Cartographies invites listeners to hear dust not as debris but as a material that carries memory across places, binding damaged landscapes and lived experience into a shared act of listening.

A Radiophrenia commission produced with the support of Creative Scotland.

Biographies:

Paul Stan Nataraj
Paul Stan Nataraj is a British artist, researcher, educator, and sound practitioner based in Blackburn, Lancashire. Working across sound, installation, performance, writing, and archival research, his practice investigates the entangled relationships between memory, materiality, migration, and postcolonial identity. Through field recordings, ethnographic interviews, found sound, text, modified vinyl records, and recorded archives, he explores how objects and sonic traces become living repositories of personal and collective histories.
Drawing on his own experience of mixed-race identity and the histories of the South Asian diaspora, Nataraj examines the enduring legacies of colonialism, displacement, and national fracture. His work foregrounds voices and memories often excluded from official histories, proposing listening as a critical methodology through which acts of remembrance, repair, and cultural negotiation can unfold. Records, recordings, and acts of repetition become sites where memory is continually rewritten, revealing the complex ways identity is carried across generations, geographies, and material forms.
Nataraj holds a practice-led Ph.D. in Sound Studies from the University of Sussex and has served as a research associate on the Migrant Memory and the Postcolonial Imagination project at Loughborough University. His work has been presented internationally, including the British Textile Biennial, the Kochi-Muziris Biennale, Jerwood Survey III—the UK's leading touring exhibition of emerging contemporary artists—and Contested Desires: Constructed Dialogues, a major Creative Europe initiative examining the enduring legacies of colonialism through artistic research, international residencies, and community exchange.
His sound works have been broadcast by BBC Radio 3's Late Junction, Radiophrenia, NTS, Resonance Extra, The Wire's Adventures in Sound and Music, and Berlin Community Radio. Alongside his artistic practice, Nataraj is an established writer on sound and contemporary culture, contributing to The Routledge Companion to Sound Studies, The Bloomsbury Handbook of Sonic Methodologies, Sonic Faction: Audio Essay as Medium and Method (Urbanomic, 2024), and Partition and the South Asian Diaspora: Exploring (Inherited) Memories and Creative Practices of Remembering (Routledge, 2025). His work occupies a distinctive position at the intersection of contemporary sound art, critical race studies, material culture, and artistic research, demonstrating how listening can become a practice of historical inquiry, social imagination, and cultural repair.

Masimba Hwati
Masimba Hwati is a Zimbabwean interdisciplinary artist, composer, performer, and researcher whose practice unfolds across sound, sculpture, performance, installation, moving image, and writing. Originally from Mhondoro, Mashonaland West Province, and now based in Vienna, Hwati explores listening as both artistic method and ethical practice, investigating the relationships between sound, memory, material culture, migration, and Indigenous knowledge systems. His work proposes sound as a living archive through which histories, ecologies, and ancestral continuities can be encountered, remembered, and reimagined.
Working between acoustic experimentation, sculptural assemblage, field recording, ritual performance, and collaborative research, Hwati creates immersive environments where sonic and material languages converge. His projects draw upon vernacular technologies, found objects, environmental sound, and embodied forms of listening to examine the afterlives of colonialism, ecological transformation, and the politics of place and belonging.
Hwati's work has been exhibited and performed internationally across Africa, Europe, and North America, including the 56th Venice Biennale, the British Textile Biennial, the University of Johannesburg, Black History Month Berlin, Radiophrenia, and numerous museums, festivals, galleries, and public spaces in Zimbabwe, South Africa, Germany, Austria, Belgium, France, the United Kingdom, Canada, Nigeria, and the United States. His works are held in public and private collections, including the University of Michigan Museum of Art (UMMA), Philharmonie de Paris, the National Gallery of Zimbabwe, Iziko South African National Gallery, the Jorge M. Pérez Collection, and Manchester Contemporary.
He is the author of Chidzimbahwe Philosophies of Sound (Palgrave Macmillan, 2026), Der Seeteufel: And Other Alien Species in the Mysteriously Dark Labyrinths of the Danube (2022), and Sokunge (As If) (2021). His recordings include Root Leaf (Collapsing Drums, 2025), Hwati Collino (Alien Passengers, 2022), and Lakenights (Alien Passengers, 2019), extending his investigations into sound as a site of experimentation, resonance, and cultural inquiry.
Hwati holds an MFA from the Penny W. Stamps School of Art & Design at the University of Michigan and completed a PhD in art practice at the Academy of Fine Arts Vienna. A graduate of the Skowhegan School of Painting & Sculpture, he has received numerous honors, including Zimbabwe's National Arts Merit Award (NAMA), the Cathrin Pichler Prize, and fellowships and residencies in Europe, Africa, and North America. His practice continues to bridge artistic research, experimental sound, and decolonial thought through projects that ask how listening might become a form of custodianship, relation, and repair.
Yulia Glukhova / holoherz - ci(r)cadian rhythm

6 September 2026 6:20 pm - 7:00 pm

This compressed day cycle is perceived through the sounds of crickets, katydids, and cicadas, which were recorded during my solo hiking trip. The activity level of these insects is related to the ambient temperature, which makes it easy to determine the time of day and the state of the environment. Originally a multichannel installation, eight speakers were set up around a hiking tent to invite viewers to listen from inside. Temperature affects the sound these insects make, and temperature affects us humans a lot, even subconsciously. Having recently moved between several countries, I have had many thoughts and observations about how the climate greatly influences people's behavior.
Phonurgia Nova Award 2019, prix "Paysage Sonore"; released at Sonospace, “Soundmaps for the dreamer”; broadcasted at Wanderlust at Cashmere Radio, Sonic bloom

Artist bio:

Yulia Glukhova (she/her) -- sound artist, sound designer, composer born in 1989 in Moscow, currently based in Berlin. She is passionate about time-based arts and enjoys exploring the power of sound in storytelling and its relationship to the visual.
She creates sound design, makes installations and performances exploring perception mechanisms, feeling of time and sense of presence. Her works has received several international awards, including Phonurgia Nova Award for her multichannel installation “Ci(r)cadian Rhythm”.
She hosts creative field recording workshops, works as a sound supervisor for the podcast studio “Radio Arzamas” and runs the sound studio "Bar Zahlen".

Website/social links https://hyperreal.place/
Antje Vowinckel - Vague Guess: Human

6 September 2026 7:00 pm - 7:45 pm

Production: SWR 2025 With the voices of: Mariana Carvalho, Carrie Getman, Zach Hart, Chris Heenan, Jessie Marino, Koen Nutter, Yollette Thomas, Sebastian Warne "vague guess: human" is reported by the bird app on the smartphone if no bird matches the analyzed sound. – Were the birds too far away? Had a person cleared his throat? Imitating the bird with decoy calls? Or are the birds peeking out of the encyclopedic depth of the app? For example, the peacock that carries the hundred eyes of Argus in its plumage and thus spies the human being? Who is watching whom? Biography: Antje Vowinckel is a Berlin based composer, radio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin. For her compositions with sound bites she developed the methodes of Automatic Speaking and Dialect-Karaoke. Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece Call me Yesterday was broadcast and presented in 18 countries. Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize. https://antjevowinckel.de/en
Lorie Ballage, Mathias Loose - Bus 59

6 September 2026 7:45 pm - 8:00 pm

BUS 59 is the first outcome of Take to the Road, a collaboration between artist Lorie Ballage and composer Mathias Loose. The 18-minute audio piece unfolds as a guided meditation set within a rainy urban landscape, drawing listeners into a sensory and emotional journey. Through layered narration, concrete sounds, ambient textures, and carefully composed musical cues, the work evokes states of frustration, impatience, disorientation, and quiet release. Its sonic choreography amplifies the physicality of rain, movement, and urban noise, transforming everyday disruptions into moments of heightened awareness. Centered on themes of surrender and acceptance, BUS 59 invites listeners to reflect on the rhythms that govern contemporary life. By embracing unexpected turns and relinquishing control, the piece creates a space for contemplation—where chaos and harmony coexist—and encourages a deeper understanding of the self within the wider emotional and societal landscape.

Artist bios:

Lorie Ballage (FR/NO) is a Bergen-based visual artist whose practice explores watery utopias, emotional tension, and the poetics of surrender. Working across ceramic installation, sound, and text, she creates immersive environments that invite introspection. She holds an MFA from the Art Academy in Bergen and exhibits widely across Europe.

Mathias Loose (DK) is a Copenhagen-based composer and sound artist blending electronic and analogue textures into emotionally rich sonic worlds. His work spans film, performance, and spatial sound installations. He holds a Master of Music in Film Composition from the Danish National Academy of Music and presents work internationally.

Website/social links

Lorie Ballage:
https://lorieballage.com/
https://www.instagram.com/lorieballage/?hl=en

Mathias Loose:
https://open.spotify.com/intl-fr/artist/0Lxbw1rC1uak2pQTCOvbAo?si=5YIfrQY1T6OizlZopdw9cQ
https://on.soundcloud.com/t1NDHGZcsQwNTMnJQo
https://www.instagram.com/mattiloose/?hl=en
Radiophrenia Shorts 39A

6 September 2026 8:00 pm - 8:30 pm

1 Ben Gaunt - Daisuki Hachiōji (8:08)

2 Fabio Bola e Alex Hamburger - Grasev Nrt Re (6:23)

3 Cornil – Jungle 01 (9:14)

4 Leila Peacock – CHOIR (12:00)

1) Ben Gaunt - Daisuki Hachiōji

Daisuki Hachiōji is an electronic work made using sounds recorded while staying with my wife’s family in Hachioji, on the western edge of Tokyo.
The material includes recordings made in a local park, sounds of my niece and nephew, traffic, and trains passing through the area. For much of the piece, these sounds reflect the parts of Hachioji that I am particularly drawn to: quiet, beautiful, calm, with a sense of night-time nostalgia.
Later in the piece, there is a sudden shift, as recorded train announcements (Hachiōji and Nishi-Hachiōji) come to the foreground.
The piece is both a personal response to a place I love and a record of my time spent listening within it.

Ben Gaunt is a Yorkshire-based composer, sonic artist and improviser, and Professor of Composition at Leeds Conservatoire. His music has been performed internationally by the London Symphony Orchestra, London Sinfonietta, Psappha, the Ligeti Quartet, Rarescale, Grimethorpe Colliery Band and many others. His music has been broadcast on BBC Radio 3, premiered at hcmf//, and he has been nominated for a British Composer Award and an Ivor Novello Award. His electroacoustic work has been selected through international open calls, including winning Bent Frequency’s Underscore competition, leading to a performance in Atlanta.

bengaunt.com

https://soundcloud.com/bencomposer
https://x.com/bencomposer/

2) Fabio Bola e Alex Hamburger - Grasev Nrt Re

GRASEV NRT RE Fabio Bola / Fabio Mourilhe This work proposes a surgical intervention and a sonic archaeology operation on one of the monuments of Brazilian literature, the novel Grande Sertão: Veredas , by João Guimarães Rosa. Using a radical vertical “cut-up” on pages 124 and 125 of the book, 1968 edition by Editora José Olympio, the piece treats the printed page as a geographical territory . The strips of paper become fissures in the landscape of Rosa's prose , destroying the horizontal narrative to release the raw, phonetic, percussive, and unfiltered language of the sertão (backlands). It is not a reading, it is an excavation. Concept​ The artwork “GRASEV NRT RE” establishes a tense and revealing relationship with Grande Sertão: Veredas by João Guimarães Rosa. Through the technique of vertical “ cut -up ” applied to pages 124 and 125, the artwork does not seek to “read” the book,

Fabio Mourilhe (Fabio Bola) has a PhD in art from UERJ, a post-doctorate in art from UFRJ, a master's degree in design from PUC-Rio and a degree in web design. He also has a PhD and a degree in philosophy (UFRJ and UERJ). He has been creating new productions and curating diverse works in art, video art, and integrated arts. He won the award for best video art for “Aion”, chosen by the public at MFL 2024, Brasil. With "Burn", he won a special jury prize at the 2nd Yeosu International Web Drama Film Festival, South Korea. Alex Hamburger link

https://www.behance.net/magneticstudiobr
https://www.instagram.com/fabiobolax/
https://www.p-arte.org/en/artists/alex-hamburger

3) Cornil – Jungle 01

The Jungle series is an experiment or recreating an imaginery living ecosystem, using only feedback and no input techniques. Electronic sounds came to life when they're out of control, letting unpredictability and chaos driving the way

Based in Brussels, Jérémy Bocquet (Cornil) is a sound artist whose practice revolves around fostering dialogues between sound and space, deeply engaging in the nuances of auditory perception. His work intricately blends poetic and philosophical dimensions of sound experience, delving into the concept of «inframince» — subtle yet profound differences found in the intervals between places and beings.

https://cornilmusic.bandcamp.com/
https://soundcloud.com/cornilmusic

4) Leila Peacock – CHOIR

The work CHOIR is composed of three singing voices, which is my voice three times. This 12 minute playback-loop begins with the three of them whispering in unison, barely audible incantations of some unspecific ritual text. They then break into a three-hymn-cycle,
before returning to whispering and then falling silent.
These ‘alchemical hymns’ are loosely inspired by the great 17th century alchemist Michael Maier’s Hermetic work ‘Atalanta Fugiens’, they are also inspired by my continuing engagement with the tradition of female mystics, especially the work of Hildegard of Bingen, whose extraordinary visions also manifested in both choral music and illuminated texts. The lyrics to the songs contain ideas around creation, experimentation, transformation, harmony, and the search for form. I am fascinated with alchemy as a metaphor for art-making, as a form of thinking that uses symbols intuitively to capture a hidden knowledge beyond our rational understanding.

Leila Peacock (1981 UK, studio in Zürich, lives in Basel). After studying both literature and fine art, her practice inhabits a place between writing and drawing, Recently she has added an element of song. Her work shows the various influence of medieval alchemical manuscripts, comic books, 18th century satire, sci-fi, experimental fiction, female mystics, elements of her Persian heritage and most recently the traditional english hymnary.

@leilaleilapeacockpeacock
leilapeacock.com
Radiophrenia Shorts 39B

6 September 2026 8:30 pm - 9:00 pm

1 Marco Dibeltulu - Contrasti armonici (6:52)

2 Sara Maino & Claudia Ferretti Isonde - A cave’s dream (5:15)

3 Sergio Salazar – Biocoenosis (10:04)

4 SASOR – ROSAS – SINTONIZAR (2:13)

1) Marco Dibeltulu - Contrasti armonici

The idea of the piece comes from the choice of the material for its construction: the harmonics, fundamental elements for the generation of each complex timbre.
The sounds used are exclusively synthetic, made with various synthesis techniques (additive, subtractive, FM and granular).
Formally it can be divided into three parts: the first, quite fragmentary, is made up of “clouds” of impulses and “grains”; the second incorporates some elements of the first with overlapping sound bands, and finally the third is a crescendo of bands that culminates in the finale, characterized by overlapping cyclic elements.
The result is a harmonic texture, now dense, now rarefied, where the play of counterpoint, even the implicit one, the opposition between different sound masses and the contrasts of chiaroscuro determine the structure of the whole.

Marco Dibeltulu studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music. He teaches Musical Technologies at the Liceo Musicale “D. A. Azuni”, Sassari. His compositions have been selected in many competitions, as 24th International Electronic Music Competition “Luigi Russolo” – Varese; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 – New York City; Soundcinema Düsseldorf 2022 (1st Prize); The San Francisco Tape Music Festival 2023, 2025. He performed at Festivals: Synthèse – Bourges; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal; Audio Art 2021 (CIME Concert) – Kraków.

http://www.marcodibeltulu.it
https://soundcloud.com/marco-dibeltulu

https://rmnmusic.com/marco-dibeltulu/

2) Sara Maino & Claudia Ferretti Isonde - A cave’s dream

A few steps lead us inside an oolite quarry in a mountainous area of Trentino, in Italy.
The vocal performance of a group of children transports us into a dreamlike atmosphere.
Here, their listening voices try to tune in to the language of the rocks, wishing to start a dialogue of sounds.

Sara Maino is an Italian Sound and Audio-visual artist, author, poet and performer, film and theatre director, and a community-engaged researcher.
Claudia Ferretti is an Italian Sound Artist, singer and facilitator of Collaborative Vocal Improvisation, Soundwalk conductor, poet and author.

http://www.saramaino.it
https://www.instagram.com/maino9800
https://www.facebook.com/mainosara/
https://soundcloud.com/sara-maino
https://claudiaferretti.bandcamp.com
https://www.facebook.com/audiay
https://www.instagram.com/isonde/?hl=it
http://www.youtube.com/channel/UC1NwaP5jGen9oIcnRaQQAfQ

3) Sergio Salazar – Biocoenosis

Biocoenosis is structured around the concept of biocoenosis as a network of interdependent living systems. The work approaches sound as a relational structure in which texture, timbre, and tempo function as organizing forces within a continuously evolving environment. Through processes of interaction and mutual influence, acoustic and electronic materials unfold as coexisting entities, responsive to gradual transformations and shifting states of balance. These relationships suggest models of coexistence, inviting modes of listening centered on adaptation, interdependence, and equilibrium within the sonic ecosystem.

Sergio Salazar is an emerging latin american composer and sound designer. His compositions have premiered in Mexico, including: The Cinco Cinco Cinco Contemporary Music Concerts at the Center of the Arts in Monterrey (2022), and in Mexico City at the Casa de la Paz Theater. He studied musical composition at the National University of La Plata and continued to explore experimental music through artistic residencies. His work lives at the intersection of sound, image, and the unseen structures that bind them, drawing inspiration from the aleatory patterns of nature, like the fractal sprawl of branches, the rhythmic pulse of water.

http://www.sergio-salazar.com

4) SASOR – ROSAS – SINTONIZAR

ROSAS marks the tenth anniversary of SASOR — the SAS Orkestra de Rádios — a collective that transforms antennas and radios into sculptural musical instruments activated through touch and real-time tuning. Founded in 2013 by Sónia Moreira, Ana Trincão and Simão Costa, the group works through a horizontal, co-creative structure that merges visual arts, performative movements and sound. Built from the collective’s personal and unpublished archive of recordings, the project revisits a decade of experimentation shaped by white noise, industrial acoustics, murmurs, disorder and the inherent unpredictability of radio waves. These volatile instruments generate loops, feedback and chance interactions between technology, DIY practices and performative gesture. Over time, SASOR incorporated rhythms, sampling, voices and natural elements, expanding its sonic vocabulary while maintaining its core radio-based identity. ROSAS culminates in new studio recordings that consolidate this trajectory and broaden the collective’s reach to wider audiences.

SAS Orkestra de Rádios (SASOR) is a meta-orkestra that builds and performs with unusual instruments made from analogue antennas and modified pocket radios, treated as sculptural sound objects that interact with radio waves. Touch between skin and antenna functions as the central sound modulator. Founded in 2013 by Sónia Moreira, Ana Trincão and Simão Costa—artists trained in Visual Arts, Performance and Music—SASOR developed a transdisciplinary, co-creative and horizontally directed identity. Its experimental practice embraces noise and improvisation, shared with audiences through concerts and hands-on workshops. In 2020, the group founded Circuito–Associação Cultural to further support its artistic projects.

https://sasorkestraderadios.bandcamp.com/album/rosas
https://www.instagram.com/circuito.ac/
https://cargocollective.com/sasorkestraderadios/
https://www.facebook.com/sasorkestraderadios/
Candice Savoyat - Shine a light on the darkness

6 September 2026 9:00 pm - 10:00 pm

80 years after the end of World War II, what remains?

Candice Savoyat retraces her family’s footsteps. First to Chemnitz, Germany, where her maternal grandmother was born to a Polish Jewish father, before fleeing to France. Then to Mauthausen, Austria, where her paternal great-grandfather, who had joined the Resistance, was deported.
By connecting these two family histories, she brings them into dialogue with the present, gathering the voices of strangers met along the way.
An intimate and universal journey, to be listened with headphones.

Created by: Candice Savoyat
Music: Amédée de Murcia
Mixing: Jules Wysocki
Translation: Céline Gay

Artist bio:

Candice Savoyat is a radio columnist, sound artist, and educator with a deep passion for the radio and sound medium. Since 2018, she has been contributing to Radio Vostok, a local community station in Geneva, Switzerland. In 2020, she turned to sound creation and was awarded Radio Bascule’s first sound creation grant (Meyrin, Switzerland) for her project Voyages en messagerie (“Travel to Voicemail”). She has since produced a range of sound pieces for Swiss cultural and academic institutions. In 2024, she received the first City of Geneva grant supporting audio creation and produced Shine a light on the darkness.

Website/social links

https://soundcloud.com/candice-savoyat
https://vimeo.com/user173277056
Radiophrenia Shorts 34A

6 September 2026 10:00 pm - 10:30 pm

1 Jaime Cid-Lara - Valparaíso’s Rain Carries Heavy Metals (17:28)

2 John Grieve - A song from the machine (7:42)

3 Dana Ollestad - Seis días sin luz (4:29)

1) Jaime Cid-Lara - Valparaíso’s Rain Carries Heavy Metals

Valparaíso’s Rain Carries Heavy Metals (La lluvia trae metales pesados) is a 2024 work based on the concept of Atmoterrorism, coined by Sloterdijk—the notion of death through the air. Here, it is applied to the industrial reality of Chile’s central coast, in the officially designated “Sacrifice Zone of Quintero-Puchuncaví.” Toxic measurements in Quintero Bay have historically been extremely high, far exceeding safety standards. Mining and electrical infrastructure activities by several corporations in the area have caused multiple ecological disasters, some making headlines with school evacuations and toxic spills into the Pacific Ocean. This work approaches the issue as a sonic research, using field recordings, processing, extended vocal techniques and composition to create a slow, suffocating auditory experience.

Jaime Cid-Lara is a Chilean composer. He works with layers, creating pieces that function as systems: sound art, spatialization, new media, electroacoustic music, contemporary composition, algorithms, and non-acoustic musical instruments. His works often explore themes such as territory, disasters, power, and contemporary politics and geopolitics. He is the creator of the Sinfonía++ (augmented symphony) format, using these layers to approach historical events as total, immersive musical works. His interest lies in exploring boundaries and questioning what music means.

http://www.instagram.com/jotacidlara
http://www.jaimecidlara.com

2) John Grieve - A song from the machine

For many years I have been creating audio works under the name Hastings of Malawi. These exist as vinyl records, CDs and digital releases. I have always considered these to be radio plays and any or all of them would sit well on Radiophrenia and are available to you if you want to broadcast them however you are asking for submissions of work that is not available elsewhere so I am submitting a new short radio play. The play reflects on the communication between humans and machines and asks if the machine would ever start to sing.

John Grieve is a British sound artist, saxophonist, and poet whose work explores the intersections of sound, language, and material form. He is a founder of the experimental group Hastings of Malawi. He approaches sound as a sculptural medium—one capable of shaping space, perception, and experience. His work collapses distinctions between poetry, sculpture, and music treating them as interconnected modes of expression rooted in critical inquiry.
His work invites a slower, stranger form of listening somewhere between sound and memory and suggests that experimentalism is not a genre but a way of resisting habitual modes of production and attention.

https://johngrieve.org

3) Dana Ollestad - Seis días sin luz

"Seis días sin luz" is a sound collage composed from recordings of electric light captured optically through hand-built solar panel pickups, converting emitted light into audio signal. The work contains no digital processing; it presents only the sounds of light.

The piece references recurring power outages experienced by my family in Cuba, where aging and strained electrical infrastructure regularly leaves homes without electricity for hours or days. In 2024, an island-wide blackout lasted four consecutive days. The title, “Six Days Without Light” in Spanish, alludes to a fictional yet extremely plausible near-future outage of even longer duration, as ongoing political pressures from the USA and international policy shifts further strain the island’s infrastructure and threaten the nation's people.

By translating light, an emblem of stability and continuity, into unstable electrical sound, the work listens to illumination as both material and precarity.

Dana Ollestad is a Cuban-American multi-media artist and educator, exploring loss, distance, and pixelating memories. He works with lens and time-based media, installation, performance, and utilizes field recordings, found sounds, and hand-built light-sensitive microphones. He co-curated Sediment Art Space in Richmond, VA for 6 years, and is the recipient of the Virginia Museum of Fine Art Fellowship. He is an adjunct professor at Virginia Commonwealth University, in Richmond Virginia, and Western Washington University, Bellingham Washington.

https://danaollestad.com/
https://www.instagram.com/dana_explosions/
https://danaollestad.bandcamp.com/
Radiophrenia Shorts 34B

6 September 2026 10:30 pm - 11:00 pm

1 Leonie Roessler - Emma's Hof (3:36)

2 Amy Gowen - I Make The Bed (9:52)
3 Cláudio de Pina - Svart Hål (9:27)

4 Alan Ahued Naime - Los Diarios (6:00)

1) Leonie Roessler - Emma's Hof

Emma's Hof is a small oasis in the very dense city of The Hague. The space was secured through community engagement. The inhabitants of the neighborhood literally created an oasis out of rubble. A space which now hosts native plants, insects, birds, and even frogs. Emma's Hof is a place where nature can grow, people can find refuge from their daily lives, and where kids from all sorts of cultural backgrounds can interact respectfully with plants, animals, water, and each other.

Leonie Roessler - Composer, Performer and teacher based in The Hague, Netherlands. Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. Part of her work is purely sound-based, however the theme of marginalization has become increasingly present in her radio works. She is part of LOOS in The Hague, and co-curates On Air - On Site Festival and BUG Radio. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (IR/DE), Biodiversitàs (IT), Syrphe (DE), and Antilounge (NL) and have been physically archived in the British Library.

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

2) Amy Gowen - I Make The Bed

In ‘I Make My Bed’, a hypnotic, associative, out-of-time, text-based sound work, our protagonist repeats the daily, humdrum activity-come-mantra of making the bed: a task which is typically our very first, and yet often most challenging act of the day. All whilst contemplating the breakdown of planet, society, social relations, health, and body.

The work contends with the friction of the docile demands placed on a body throughout a life, especially in contexts of domestic or reproductive labour, against the chasmic interiorites of the mind, as well as the many forms of ‘self’ we embody and encounter across time and space; punctuated through the rhythmic repetition of our daily actions.

Amy Gowen is a writer and editor originally from Hereford, UK, now based in Rotterdam, NL, who works with text-based practices across the mediums of writing, publishing, radio, and curation.

She works for School of Commons, a peer-learning alternative education programme, and co-founded the commons-informed publishing project HumDrumPress. She runs the writing and radio project Off Margin on Substack and Radio Worm, dedicated to interior and exterior reading and writing lives, and text that moves off the page.

In her spare time she writes experimental and literary fiction.

https://www.instagram.com/offmargin/
https://substack.com/@offmargin?utm_source=menu
https://www.instagram.com/amygow/

3) Cláudio de Pina - Svart Hål

Svart Hål is the Swedish word for black hole. The piece is an homage to Ingmar Bergman. The quotation is from the film Vargtimmen (1968) (The Hour of the Wolf). Vargtimmen is also the moment when most births and deaths occurs, so it relates to time and the cycle of life. A black hole also represents a cycle of death and life. The quote on this piece belongs Max Von Sydow, were he talks about time. Coincidentally, this piece was composed during the time EHT team captured the first image of a black hole (in the center of M87 galaxy) in April, 2019. Several sounds of black holes where used taken from the free sound folio of NASA. Other sounds, like clocks, bells and cuckoo clock represent the passing of time, accelerating, decelerating or being frozen, mimicking the effect of a naked singularity.

Cláudio de Pina (1977-) is a sound artist, organist, and composer. He is the titular organist of the historic organ at the Parish Church of Ajuda (Lisbon). Integrated researcher at GIMC (CESEM, FCSH). PhD in Musical Arts (summa cum laude) with a diploma in Advanced Studies (FCSH/ESML) as an FCT scholarship holder. Master's degree in Musical Arts (with distinction on the Dean’s Honour Roll, FCSH). He studied at the Gregorian Institute of Lisbon, Hot Jazz Club, and Engineering Physics (FC). He dedicates his artistic and academic work as an organist and composer in the field of contemporary music.

https://www.claudiodepina.com/

4) Alan Ahued Naime - Los Diarios

This piece was commissioned by the artist Iván Navarrete, who during the 2020 was living in the mountains of Morelos, Mexico. From there, he recorded AM radio signals coming from several countries. At night, AM signals can travel very long distances by reflecting off the ionosphere. This phenomenon, known as skywave propagation, allows signals to travel thousands of kilometers.
While listening to the recordings, Iván noticed unexpected interference and later discovered it was caused by bats flying nearby. From these recordings, he commissioned me to compose an electroacoustic piece. For Los Diarios, I focused on the voices carried by these radio waves to reflect on the shared reality we experienced during the pandemic.

Alan’s work is very often standing in the space where music/sound and other disciplines meet. With a background in music composition and multimedia art, his practice is related to sonic perception and interactivity along with his interest in communication processes and the creation of spaces for communality. His research is practice based, conducting experiments through sculptures, installations, and music composition. His pieces have been selected and awarded in several international competitions and festivals. In addition, his works have also been featured in solo and group exhibitions.

https://www.alanahuednaime.com/
Simon Šerc & Martina Testen - A Journey Through the Sounds of the Night

6 September 2026 11:00 pm - 11:50 pm

A Journey Through the Sounds of the Night is a 49-minute immersive composition by Simon Šerc and Martina Testen that transforms nocturnal field recordings into an artistic exploration of the hidden lives unfolding after sunset. Tracing the natural arc of a single night, the work reveals the forest as a sentient ecosystem where owls call, stags roar, wolves howl, and countless small creatures navigate darkness with intelligence and purpose. Over 200 audio tracks are woven into a non-repeating sonic tapestry where each sound appears once, at its own duration, creating an unrepeatable nocturnal journey. Neither documentary nor nature program, this work uses radio's intimate qualities to collapse the distance between listener and wilderness, inviting meditation on animal consciousness and the fragility of ecosystems threatened by human encroachment. The composition plays to radio's unique power to create immersive darkness - transforming listening into witnessing.

Artist bio:

Simon Šerc and Martina Testen are internationally recognized audiovisual artists working across sound, video, and contemporary art. Their projects have been presented at numerous international festivals, including Ars Electronica, Athens Digital Arts Festival, Miami New Media Festival, Art & Science Days, Rome Art Week, and have been featured in major media outlets. Their acclaimed sound albums, such as Biodukt, Ekodukt, and Bora Scura, have been ranked among the best in field recording. Working in tandem, they are known for distinctive field recordings and explorations of time and perception, creating immersive audiovisual worlds that merge artistic experimentation with technical precision.
Iris Our - Urnshaped Murmuration

6 September 2026 11:50 pm - 11:59 pm

From the album 'Victual Vittle Bottle Cunt' (Recital)

This September we partner with Radiophrenia, the groundbreaking radio art festival and art radio station broadcasting across Glasgow on 87.9FM and online, featuring hundreds of new and original works for radio, a series of 20 newly commissioned special projects, public Live-to-Air performances, live in-studio shows and performances, long-form works, shorts and pre-recorded features.