← Sunday 6th September 2026 →

Midnight BST

Radiophrenia 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:

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

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

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.

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.

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

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.

Midnight BST

Radiophrenia 2026 ▾

A full schedule can be found here

The schedule for today's broadcasts:

Lee Henderson - Late-night Lock-groove

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

Locked in a community radio station at midnight, I mined their extensive collection of vinyl to DJ an hour-long set made entirely of the lockgrooves at the ends of records where the last track of that side referenced sleep, night, dreaming, radio, broadcast, the music industry, solitude, and fame. The result shifts between being an undanceable rhythm, an analog raga, a meditative dub-track, and a contemplative ode to the dark.

This version was recorded live at CHMA and curated by Struts Gallery in Sackville, New Brunswick.

Playlist:
"Another Night in the City" (Beau Geste, side A of Still of the Night)
"In Visible Silence" (The Art of Noise, side A of Backbeat)
"Fill Up the Night" (Sadao Watanabe, side A of Dreams Come True)
"By Request" (Billy Vera and the Beaters, side B of Here Comes the Dawn Again)
"Test Patterns For Living" (Blue Peter, side A of Time and Money)
"A Matter of Time" (Rox Band, side B of One Day)
"Radio Waves" (Roger Waters, side B of Going to Live in L.A.)
"Tonight" (David Bowie, side B of Tonight (dub mix))
"Babble" (That Petrol Emotion, side A of Static)
"In the Heat of the Night" (Tapps, side B of Hurricane (Mega-Storm mix))
"Press to Play" (Paul McCartney, side B of However Absurd)
"Hot Wires" (Roy Buchanan, side B of The Blues Lover)
"Down to the Moon" (Andreas Vollenwieder, side B of La lune et l'enfant)
'Shadow Play" (Vis-A-Vis, side B of Shadow Mix)
"Crimes of Conscience" (Cry Before Dawn, side A of Second Sight)
"Rich and Famous" (Blue Mercedes, side A of Your Secret is Safe With Me)
"Seduced by Money" (The Thieves, side A of When I Wake With Someone New)
"The Line Between the Devil's Teeth" (Peter Murphy, side B of Blind Sublime)
"Fear of Music" (Talking Heads, side A of Memories Can't Wait)
"You Must Be Prepared to Dream" (Ian McNabb, side A of You Must Be Prepared to Dream)
"Illustrated Musical Encyclopedia" (Ryuichi Sakamoto, side A of Paradise Lost)

Artist bio:

Born and raised on the Canadian prairies, I remain convinced there's no better place to contemplate nothingness. When the landscape is just a single horizontal slash, emptiness becomes a comfort; when the cold makes you need other people on a mortal level, absence becomes a terror realized. (Isn't it curious how place shapes us?)
I am a contemporary artist whose practice includes video, photography, sound, installation, performance, and text. I studied art in Canada and Germany, and have taught media art at Universities for the past 20 years. In 2017, I represented Canada at the Glenfiddich Artist Residency in Dufftown.

Website/social links

http://noattainment.com
@hendersontheyounger (Instagram)
AC Diamond - Path of Totality Crossing Montezuma Wildlife Refuge, April 8, 2024

7 September 2026 1:00 am - 1:30 am

I spent the April 8, 2024 total solar eclipse at Montezuma National Wildlife Refuge in upstate New York—a vast wetland along the migratory flyway. I made two simultaneous field recordings: one of the ambient soundscape and one from a custom 4-oscillator squarewave synthesizer that translates light to pitch. Rather than showing the eclipse, this piece documents the ecological, social, and atmospheric effects of the environment during the darkness of total eclipse. Learning that some Indigenous communities, including the Diné, traditionally observe eclipses through quiet reverence, affirmed the choice to focus on presence rather than spectacle. This iteration honors the natural timeline of the event, preserving the sonic unfolding: eerie quiet, surging animal response, surreal synchronicity. Artist bio: AC Diamond is a sound and media artist working across live performance, creative technology, and archives. Their work takes place in galleries, theaters, DIY venues, unconventional venues, and public spaces. Active since 2009, AC holds an MFA in Electronic Music and Recording Media from Mills College and a BA from Bennington College, and currently serves as Adjunct Faculty in Music Technology at NYU Steinhardt. AC’s work has been supported by a NYFA/NYSCA Fellowship in Music/Sound (2022-23) and a Van Lier Fellowship at Roulette Intermedium (2020), as well as grants from NYSCA/Wave Farm, the Foundation for Contemporary Art, and Antisocial Music. Website/social links ac-diamond.com @ac____dmnd (instagram)
Duncan Chapman - Night-Forced, Seeking Light

7 September 2026 1:30 am - 2:00 am

This is one of a series of pieces made using recordings of Yorkshire forced rhubarb growing in the dark. It was created for an installation with David Velez in Huddersfield. The sounds of the growing rhubarb are combined with generated sine waves and the ambient atmosphere of the shed where we recorded late at night. All the pitches are derived from the spectral content of the snapping sounds the plants make as they grow in darkness, searching for light.

Artist bio:

Duncan Chapman is a UK-based composer, sound artist and producer working across electronic music, installation, performance and community-led practice. Duncan’s work explores listening, place and atmosphere, often combining field recordings, live electronics and acoustic sound in site-specific contexts. He creates immersive environments for galleries, festivals and public spaces, alongside collaborative projects with musicians, artists and local communities. Duncan’s practice is rooted in careful attention to space, texture and audience experience, with a strong focus on accessibility and participation. His work has been presented internationally and across the UK, including major festivals, arts centres and public realm settings.

Website/social links

http://www.duncanchapman.org/
https://dronespace.bandcamp.com/
https://www.facebook.com/duncan.chapman.566
Paul Catanese - Erased, Revisited

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

"erased, revisited" is a variable-length improvisational performance for modular synth, voice, and an archive of cassette tapes collected over many years from thrift stores and flea markets. The tapes carry eulogies, hospital relay communications, biometric signals, retirement celebrations, and recordings by residents in long-term care. Played through tactile, manually controlled tape devices, the recordings rarely remain stable. Sounds drift, falter, and fragment as electronics and voice respond in real time. Revisiting material first explored over two decades ago, the work reflects on care, distance, and vulnerability.

Artist bio:

Paul Catanese is a hybrid media artist whose work spans installation, performance, sound, experimental opera, projection, net.art, and printmaking. While long working with modular synthesis as a studio tool, his recent performance practice extends these processes into live contexts with modular systems, tape-based media, and voice. His work has been exhibited at institutions including the Whitney Museum of American Art, Chicago Cultural Center, New Museum of Contemporary Art, Ann Arbor Film Festival, and the International Symposium on Electronic Art.

Website/social links

http://www.paulcatanese.com/
https://www.instagram.com/paul_catanese/
TAN - THE ROOM OF DOGS

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

The idea of this media project is an immersive intimate experimental audio play. The work provides a listener with an experience of intimacy and fosters closeness between the sounding and the consumer. Motivation for the choice of a project is a long time interest in exploring the genre of audio play. Moreover, this project becomes a next step in a personal ongoing research on extended vocal practices and human voice as an instrument. The work on this project includes research on the genre specifications of an audio play, areas for experimentation and approach to script writing; deepening knowledge on vocal exploration methods; developing approaches and techniques that provide intimate experience through sound; defining overall sound aesthetics.

Artist bio:

I come from a background in academic painting and contemporary fine art, having originally worked in painting, sculpture, and moving image media. My creative journey has taken me through six universities, ultimately leading me to discover my passion for the intersection of visual and sonic art and, ultimately, to sound art. So far i've been working with sound on its own, exploring its agency, as well as body+sound explorations.

Website/social links https://soundcloud.com/ja-toto
Conduction Series 1

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

The 2025/6 Conduction Series One Sentence for Minnesota 2026-02-06 Betsey Biggs, August Black, Peter Courtemanche, Jeff Economy, Anna Friz, Jimmy Garver, 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 16

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

1 Marie Vermont & Rudi Gier – Ampheedback (6:00)
2 Gustavo Guzmán - Stromboli-1940 (23:15)
3 Shape Of Mustard - strange kinships (20:00)
4 Sergio Valente/ Gurrola Alvarez - “The Eccentric: Laughter Before the Abyss” (10:25)

1) Marie Vermont & Rudi Gier – Ampheedback

In “Ampheedback” frogs engage in dialogue with one of the most distinctive sound sources in amplified music: feedback. The interaction between field acoustics and amplified voltage is reflected in the steadily growing and subsiding movement between foreground and background. The composition features a recording of a frog concert that slowly develops, reaches a climax and dies down again. It was recorded at a small pond in Vorarlberg, Austria, which was originally built in 1860 as a village swimming pool and is now home to a variety of creatures.

Marie Vermont and Rudi Gier are Vienna-based artists and musicians, constantly scoring and compos(t)ing new sonic narratives on common and non-common places, the climate crisis and queer ecological theories.

https://marievermont.world/ Instagram: marievermont666
https://www.evamariamueller.net/ Instagram: gmorrk

2) Gustavo Guzmán - Stromboli-1940

A four-part suite of acousmatic landscapes inspired by the culture of radio listeners of the magnetosphere, assembled from recordings of Chilean birds, very low frequency (VLF) radio excerpts, and various forms of visual sound synthesis (e.g., spectral drawing of contours and structures). More than a linear piece, it is a collection of different "moments" within this landscape that aims to be both inductive and evocative. The idea is to play with the notion of the "atmospheric" as a medium in which all kinds of concepts, textures, sonorities, and metaphors are suspended to experience a phantasmagoric transduction from technological to natural soundscapes, and viceversa. Thus, Stromboli-1940 becomes an aural non-place for ecological rumination.

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.

http://gustavoguzmancom.wordpress.com/

3) Shape Of Mustard - strange kinships

In strange kinships, Shape of Mustard (composers Eveline Vervliet and Philipp C. Mayer) explore the fictive story of a group of researchers from the 1860s, in search of the nature and culture of pigeons. The only things left are a book and some old audio tape recordings. With this documentation, the artists try to reconstruct the team’s research path and results. What are the limits of our understanding of another species? And what are the limits of our materials in acquiring and documenting such findings?

Eveline Vervliet is a composer based in Germany. In her work, she explores the interplay between musicians and technology, and between humans and non-human animals. Her current practice revolves around memory, erasure and composing with transience - works that change and fade over time. Philipp C. Mayer is a composer. He works in the field of music theatre, concert music and installations. Since 2022 he is working in a theatre collective with Rieke Süßkow, Mirjam Stängl and Sabrina Bosshard. Mayer studied composition with Isabel Mundry, Stefano Gervasoni and Luxa Schüttler.

https://evelinevervliet.com
https://philippchristophmayer.com

4) Sergio Valente/ Gurrola Alvarez - “The Eccentric: Laughter Before the Abyss”

Voice is the original resonance of the human experience. It agitates and moves. Beyond pantomime, voice is the most genuine medium: it goes from the inside out, it is graduated according to the intensity, height and strength of emotions. Voice is moldable, bearer of a secret and musical communication.
Whereas, the face is suitable for concealing. Man is set outside of himself through his face, he is given into any reaction, before being able to protect himself.
Laughter opens the threshold of fragmented behavior and ruptures. When we laugh we lose control of our body and unpredictable responses are produced that break our usual composure, allowing an endless resource of knowledge of the human being to emerge.
“Excéntrica” is a piece put together based on the laughter of women of different ages.
In the midst of the wild eruptions of female laughter, there is a revelation: the secret composition of human nature is manifested.
In almost no other expression is it as difficult to distinguish the authentic from the not authentic.
The immediate and the involuntary is what makes laughter an authentic expressive gesture. Its original bond to human moods sticks to our eyes and ears with irresistible power.
When the abyss surrounds us, laughing isn’t a frivolous attitude, but a need to conserve our balance facing the void.

Audiovisual Director, Composer, and Sound Artist Sergio Gurrola is an artist whose work transcends the conventional limits of art to plunge into the deepest territories of human experience. His work is not only heard or seen; it is felt, lived. With a narrative that oscillates between noise and music, testimony and poetry, Sergio builds sonic and visual universes that defy traditional categories, inviting the viewer to explore the outer edges of perception and emotion.

https://sergiogurrola.com/
https://www.instagram.com/
https://www.youtube.com/@778MILLONESDEKM
Conduction Series 13

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

The 2025/6 Conduction Series Reindeer Cyclone 2/7/2025 Betsey Biggs, August Black, Peter Courtemanche, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian 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 18A

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

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

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.

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

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

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

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

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

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

1) Water Feature - Various Birds - pond bather

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

2) Juliette Liautaud – Infraordinaria

julietteliautaud.com,
Instagram.com/juliette__liautaud
Radiophrenia Shorts 5A

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

1 Sara Maino - When the drops meet the mountains (4:05)
2 Dariusz Mazurowski – Excerpts from Metropolis Balticum (Urbana Landscape) (21:00)
3 Geert Vlieger - Echoes of Peace in South Sudan (05:09)

1) Sara Maino - When the drops meet the mountains

A surreal blue-hour journey unfolds as a displaced spirit wanders through the temporal landscape of an isolated hill in the Apennines.
Guided by a thin wire dividing a field, where faint and fragile raindrops rest, the spirit pauses to observe the layers that slowly reveal themselves to the eye: a chain of droplets, a chain of mountains, a chain of birdsong. Physical forms and drifting sounds dissolve into a sequence of memories—echoes of past encounters where water meets stone, movement meets stillness.
Intrigued by this encounter, the spirit returns home to pose a fundamental question: “What happens when the drops meet the mountains?” Where water meets the mountain begins life and danger alike—a threshold of transformation, of new currents, and of motion yet to unfold.

Sara Maino is an Italian sound and audio-visual artist, poet and performer, film and theatre director, and a community-engaged researcher.

http://www.saramaino.it
https://www.instagram.com/maino9800
https://www.facebook.com/mainosara/
https://www.linkedin.com/in/sara-maino-66285738/

2) Dariusz Mazurowski – Excerpts from Metropolis Balticum (Urbana Landscape)

Water, Air, Streets and People are parts of the composition Metropolis Balticum (Urbana Landscape) – this is a soundscape of Gdansk, my hometown. It was entirely created from field recordings that I made within the urban space, visiting various locations and searching for intriguing events with musical qualities. During the field recordings I visited many places – both those well-known and frequently visited by tourists, and many that even the citizens themselves often know little about. Each had its own acoustic aura, atmosphere and sound universe. Each of the eight parts of the composition consists of multiple phrases layered on top of each other, creating a sonic tapestry. As a result of these techniques, some parts resemble a journey through the city, with smooth transitions between layers and locations, while others are more distinctly musical impressions blurring the lines between soundscape and concrete music.

Dariusz Mazurowski is a Polish electroacoustic music composer, born and currently residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics. His works combine analog instruments with the sonic potential of digital technology and computers. His compositional approach is dynamic in that it involves live electronics and live sound diffusion across multi-speaker systems. Mazurowski’s music has been broadcast by various radio stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia.

https://deemstudio.com/
https://www.facebook.com/profile.php?id=100086282450366
http://www.youtube.com/user/DeeMstudio

3) Geert Vlieger - Echoes of Peace in South Sudan

Emmanuel remembers how he as a child learned to warn people for in coming wild animals - especially elephants - using a certain whistle technique. When asked, Emmanuel couldn’t reproduce the whistle - which isn’t surprising, as for most of his life, dangerous animals were no longer a threat. The 21-year-long war in Sudan, filled with gunfire and very restricted freedom to move, didn’t just force the people to flee the country - it also drove the animals away to safer neighbouring countries like Uganda. But when peace came, elephants were spotted again and Emmanuel probably regrets not having practised more.

Geert Vlieger is a Dutch audio documentary maker and musician living on the outskirts of Amsterdam. He has a love for stories about communities that live with nature. And while the Netherlands isn’t the best place for that - although he tries, living in a wooden house on the shore of Holland’s biggest lake - he occasionally sinks his teeth into projects where people inspire him with their way of living somewhere else in the world.

https://www.geertvlieger.nl/
https://www.instagram.com/geertvlieger/
Radiophrenia Shorts 5B

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

1 Malu Hatoum - Refluxus 1 or Ruminat Beat (6:40)
2 Owen Duff - The Meaning of Alexa (Ambient) 1 - How do you feel (11:59)
3 BBB_ - Ontology of Interdependent Matter (11:30)

1) Malu Hatoum - Refluxus 1 or Ruminat Beat

The composition Refluxus 1 - or Ruminate Beat is based on the indigestible feeling and condition of our society. It physically conveys the idea that if we were ruminant animals with five stomach cavities, we might have the stomach for this society. For this composition, only two sound sources were used and modified: the conversation of two deer, which are ruminants, and the author's voice.

Malu Hatoum
Sound artist, performer, producer, singer, and writer, she currently researches transspecies communication through the body-voice.
She has held solo and group exhibitions in Latin America and Europe.
2024 - PhD student in Contemporary Arts Studies, Fluminense Federal University (UFF), Brazil; 2019-21 Master's degree in Sound Art, University of Barcelona, Spain; 2012-14, Undergraduate degree in Psychology, University of São Paulo (USP), Brazil.
Co-founder of the Refluxus Collective, 2019. Member of Soma_Lab, the Sound Arts Research Group at the Fluminense Federal University, Brazil, since 2024. Curator and producer of Chicharra Nomadic Listening Festival

https://www.museuapellesfenosa.cat/es/expo/reverberant/
https://bilbaoarte.eus/exposicion-aqui-feroz-malu-hatoum/
https://www.instagram.com/maluhatoum/
https://soundcloud.com/maria-luiza-gimenes-peres
https://www.instagram.com/refluxuscolectivo/
https://colectivorefluxus.wordpress.com/
https://soundcloud.com/refluxus-colectivo

2) Owen Duff - The Meaning of Alexa (Ambient) 1 - How do you feel (11:59)

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com

3) BBB_ - Ontology of Interdependent Matter

Ontology of Interdependent Matter is part of the Songs of Cyborgeoisie project by BBB_. A mesmerising PC gaming experience and audio-visual journey through a sci-fi universe, populated by technological, organic and fantastic beings, such as the Queer Feminist AI, Raving Narcissistic Algorithm and Other Intelligences, who tell of their sorrows and hopes, in order to heal human imagination from the pervading techno-dystopian narratives.

Artisitc direction & Concept: BBB_
Lyrics and Voice: allapopp
Composition and music production: Alexander Sahm
Choir: Deniza Popova, Santrra Oxyd, Elisabeth Rudi, Cassandra Schwermer

https://homepage-bbb.bandcamp.com
https://www.youtube.com/watch?v=2tHi1i-1Chk
IG @allapopp
IG @alexandersahm_
Radiophrenia Shorts 3A

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

1 Yuxin Hu – Silence (5:36)

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

1) Yuxin Hu – Silence

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

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

2) Valentin Sismann – Erosia

3) Dan Antoniu - Electric Creek

7 September 2026 8:30 am - 9:00 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

2) Stephen Bradley - Slow Thaw

https://urbantells.net/

3) Water Feature - Various Birds - 04 miniature quail

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/
Anne Lepère - Nuages (Clouds)

7 September 2026 9:00 am - 10:00 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/
The Derby Tape Recording Club: The Lost Episode

7 September 2026 10:00 am - 11:00 am

A continuation of sorts of a series I produced for Resonance FM back in the year 2002. Each episode was haphazardly constructed from a ramshackle archive of disintegrating open reel tapes bought from a car boot sale in Derby. This lost episode of The Derby Tape Recording Club came about when a whole new batch of tape recordings were discovered 10 years ago. Martin Stanway, a former member of the club and son of Alf Stanway, the club chairman sent a selection of these recordings that were featured on local station Radio Derby over the course of a week. When I heard about this I of course got in touch and struck up a correspondence. Martin has since generously shared with me all of the recordings he had digitised along with photographs and other ephemera. Martin and his family emigrated to Australia in 1969 leaving their friends in the club behind but they still kept in touch through taped messages, some of which are included in this piece. Produced by Mark Vernon. Biography: Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings. http://meagreresource.com
Sisters Akousmatica - WHIPS OF SORROW

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

"Whips of sorrow" is an improvisation with electromagnetic frequencies on stolen land, lutruwita, about female convicts archival data. Excerpt from a live performance at TMAG (the Tasmanian Museum and Art Gallery) for the Dark MOFO 2023 festival, by the nipaluna Hobart based Radio Art duo Sisters Akousmatica (Julia Drouhin and Phillipa Stafford).

Artist bio:

Sisters Akousmatica has been expanding radio projects to explore the radical possibilities of transmission since 2015 within collective and feminist radio practices. From Broom Broom car to Sea Hag boat, Sisters Akousmatica navigate on the edges of ‘legitimate’ broadcast.

Website/social links
https://wavefarm.org/ta/archive/artists/swt69g
https://www.instagram.com/radioqueens/
Buffer Zone

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

1) Antje Vowinckel - Fälle und Vorfälle (Toppling and tumbling) (6:41)
2) Hildegard Westerkamp - Kits Beach Soundwalk (9:48)
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Bastejkalns (1:32)
4) Tony Morris – ASDA (1:00)

1) Antje Vowinckel - Fälle und Vorfälle (Toppling and tumbling)

The entire composition is based on the sounds of spinning tops. Cuts into the course of the sound destroy the typical structure, isolate single phases and focus on the melodies of Toppling and Tumbling.
Different Shapes of the tops as well as different materials of the underground ( base drum, paper, metal, fabric, stone) provide the numerous variations of the sound.

Biography
Antje Vowinckel is a Berlin based composer, adio 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

2) Hildegard Westerkamp - Kits Beach Soundwalk (1989)

In the late seventies I produced and hosted a radio program on Vancouver Co-operative Radio called “Soundwalking”, in which I took the listener to different locations in and around the city and explored them acoustically. “Kits Beach Soundwalk” is a compositional extension of this original idea.

Kitsilano Beach — colloquially called “Kits Beach” and originally named after the Squamish First Nation chief X̱ats’alanexw (Khahtsahlano, 1877-1971) — is located in the heart of Vancouver.

In the summer it is one of the most crowded beaches in Vancouver, packed full with sunbathers. At the time the piece was created, in the late 80s, it was also filled with music coming from many “ghetto blasters”, indeed light years away from the silence experienced here not so long ago by its indigenous inhabitants.

The original recording on which this piece is based was made on a calm winter morning, when the quiet lapping of the water and the tiny sounds of barnacles feeding were audible before an acoustic backdrop of the throbbing city. In this soundwalk composition we leave the city behind eventually and explore instead the tiny acoustic realm of barnacles, the world of high frequencies, inner space and dreams.

3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Bastejkalns

This "catalogue of noisy swing recordings" is an expanding catalogue of recordings that capture noisy swings co-created with Ada Ruszkiewicz. The catalogue is made up of several dozen sound recordings featuring squeaky, creaking, screeching or otherwise noisy swing sets. The reasons for swing noise are various – loose connections or fasteners, aging of the materials used in the construction of the swing, weather conditions affecting them, as well as the load and overload to which the swing is subjected. Although most of the recordings feature swings that only minimally differ in terms of mechanics, construction and materials used, their noise is never identical, providing a sound testimony to the environment in which the swing is placed. Swinging, photos – Ada Ruszkiewicz; Idea, recording, editing and mixing – Ernests Vilsons.

Artist bio: Ernests Vilsons is a Latvian composer living in Rīga. He writes music for acoustic instruments and electronic means, creates sound installations and performances, and collects field recordings. He is interested in harmony, time, silence, chance, representation and transcription.
E. Vilsons studied at the Institute of Sonology at the Royal Conservatoire in The Hague. His master's research project “Well-Structured Vocalizations: An Attempt To Imitate Birdsong” was awarded the Konrad Boehmer Foundation Prize in 2020.

Website/social links

https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s

4) Tony Morris – ASDA

https://www.instagram.com/tonymorrisssss/
Suk-Yun Kim - (de)touch

7 September 2026 12:00 pm - 12:30 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/
Jack Vickridge - Elsewhere

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

Developed over several visits to an island, the work began as an attempt to assemble an audio document of the place. Gradually, the process shifted from recording to construction, and the field recordings became a point of departure rather than material presented directly.

A single oscillator was treated and layered to unfurl its tone into a broader sonic environment, sketching over the sounds of the island. The synthetic tracing eventually displaced the field recordings, leaving behind a sound world as a memory of place.

Artist bio:

Jack Vickridge is a Glasgow-based artist working across sculpture, print and sound.

Website/social links

http://www.jackvickridge.com
http://www.instagram.com/theemptyfoxhole/
Radiophrenia Shorts 19A

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

1 Anastasia Freygang - 1day copy radio (8:26)
2 Giovanna Turrini - Head Above Water: Baum im Ohr. Proceed (7:15)
3 Emily Berry and Owen Duff - Ghost Dance (11:06)

4 Dibakar Saha - Drowning to Stay Afloat (3:40)

1) Anastasia Freygang - 1day copy radio

These post-literate incantations reverberate out of time and on a rainy day, imitating the language of exile. They find themselves traversing regions in a 1day copy with resounding fountains in Bulgaria and with London's Turkish Radyo Umut's hickups recaptured in the shell of a boat. Homage and water-borne they are echo-ing : 'for my bottom to be pushing into my shoulders/ so i lower my forehead, and see nothing' from a battery-powered amp.

Anastasia Freygang is suny tobt fum in concert. Fond of creating sonic collisions that initiate movement her creative practice covers language and presence in the widest sense.

By using basic computer functions, fieldrecordings and low-fi feedback principles there is a spatial quality adding to collapsed timelines and song. Currently her experiments with voices, polyrhythms and textures delineate narrative structures live via events she curates, and in support of moving image, performance and radio transmissions.

https://69pleasuredome69.bandcamp.com/
https://anastasia-freygang.com/
@ragamash_sandybaum

2) Giovanna Turrini - Head Above Water: Baum im Ohr. Proceed

A sonic deconstruction of the opening lines of R.M. Rilke’s “Sonnets to Orpheus” (I, Part I): "Da stieg ein Baum. O reine Übersteigung! / O Orpheus singt! O hoher Baum im Ohr!" ("There rose a tree. O pure transcendence! / O Orpheus sings! O tall tree in the ear!", trans. S. Mitchell). The work deploys diverse vocal interpretations (reverse-processed, total vocal occlusion, humming, whistling, laptop-driven "stop-and-go") coupled with object rhythmics and field recordings (e.g. urban scaffold building, an AI-generated voice of an elderly Japanese man from metal ashtray beating under the reverberating, historical Ponte Balbis, Turin - signalling fatigue/effort-, kitchen wooden spoon rhythmics, cracking ancient church wooden benches/floors) to try and ‘build’ Rilke’s necessary tree/wood(s) in the ear of mankind out of our unintelligible times. The narrative ends with a (self-ironic) live applause over the non-ironical closure ‘And “The rest is silence". Hamlet’ (in Italian). Prepared for Radiophrenia’s 2026

Landing Webpage: new.express.adobe.com/webpage/Rkel3QrhISiEv
http://www.youtube.com/@BRIDGES-giovannaturrini
bridgesgiovannaturrini.bandcamp.com/
http://www.linkedin.com/in/giovannaturrini

3) Emily Berry and Owen Duff - Ghost Dance

Ghost Dance is collaborative, polysonic, polyvocal piece which explores the lingering effects of childhood grief in adulthood, through a collage of sounds and voices. The poem thinks about how a person's different selves commune across time, and how the living and the dead commune also. The poem was first published in Emily Berry's collection Stranger, Baby. Sound design and composition by Owen Duff.

Emily Berry is a poet with three books of poems published by Faber & Faber. She scripted and presented the BBC radio programmes My Sylvia Plath (2023), Dreaming of Connie Converse (2024) and The Little Box Which Contains the World (2026), and is editor-in-chief of the bedtime stories app Sleep Worlds. Owen Duff is a queer singer-songwriter, composer and sound artist. He has recorded five EPs and five albums, and his songs have been aired on BBC Radio 6, BBC Radio 3 and BBC Radio London. His sound work has been Highly Commended in the Sound of the Year.

https://owenduff.co.uk/
https://www.emilyberry.co.uk/

4) Dibakar Saha - Drowning to Stay Afloat

Underwater recordings form the dominant sonic field in Drowning to Stay Afloat. The aquatic space acts as both material and metaphor. Sounds move slowly, blurred and heavy, as if heard from beneath the surface of the present.
Within this imagined underwater space are fragments of contemporary human life. When something sinks underwater, it softens, breaks apart, and loses its sharp edges. The embedded sounds are processed to evoke this disintegration. Almost washed out, but something remains. Distorted contours that resist disappearance.
With this piece, I try to express what it feels like to live in an era defined by an abundance of information, and reaction, and a scarcity of meaning and empathy. Listening becomes similar to drowning. Everything surrounds you, yet nothing is fully grasped.

Dibakar Saha is a Kolkata, India based sound artist, and a graduate of the Satyajit Ray Film and Television Institute. His practice is rooted in sound art, installation, immersive audio, and field recording, with a focus on experimental and spatial forms. He has collaborated on VR works, multichannel films, and interactive web installations presented at IDFA, Sheffield DocFest, Berlin Biennale and Serendipity Art Festival. A Fellow of the 2022 BIFF Asian Film Academy in Busan, his work in films has been shown at national and international platforms.

http://www.dibakarsaha.com
@theblueorangutang @silenceplease.wav
Radiophrenia Shorts 19B

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

1 Bláithín Mac Donnell - The road cuts through (8:02)

2 Chatori Shimizu – Shinkaigyo (5:12)
3 Jo Kennedy - Holding the Rain (11:20)
4 Myriam Bessette - Sans alerte (3:46)

1) Bláithín Mac Donnell - The road cuts through

The road cuts through is a performative monologue layering fact, fiction and anecdote. Soil is excavated, roads are constructed and lakes flood as stories entangled in the land are unearthed.

Bláithín Mac Donnell is an Irish artist who explores how we share and retell stories through performance, text, collage and sculpture. Concerned with the entanglement between rural and digital infrastructures, her work seeks to attend to a sense of place by meshing the past, present and future. Currently a PhD researcher at NCAD, Dublin her practice based research explores liveness in performance through voice and narrative. Bláithín holds an MA Photography from the Royal College of Art, London, 2015 and a BA Fine Art from Goldsmiths, London, 2012.

http://www.blaithinmacdonnell@gmail.com
@blaithinmacdonnell

2) Chatori Shimizu – Shinkaigyo

"Shinkaigyo", which is translated into "deep sea fish", was written in fascination of the ocean. I was always intrigued, and at times terrified, by the sea, which is still largely untouched and deeply mysterious to humanity. The audio and its excerpts were used as the soundtrack in "Nihonkai" (2014), installation by artist Ayaka Miyauchi, and for the short Korean film "Artists are Always Hungry" (2014). In the same year, it was selected for the 60x60 WaveFarm Mix International Open Call, broadcast on WaveFarm 90.7FM, distributed as part of the Wave Farm Dispatch Series, and featured in a series of live listening events. In 2019, Shinkaigyo was introduced by Ars Electronica FORUM WALLIS 2019 as “Highly Commended”.

Chatori Shimizu (b. 1990) is a composer and sound artist, focusing on site-specific music, kinetically enhanced music, and concert music. He often plays with the themes of liberating time and space, often incorporating choreography, programming, mechanical enhancements, and installation design in his creations. He has degrees from Kunitachi College of Music, Columbia University, and Hochschule für Musik Carl Maria von Weber.

https://www.instagram.com/chabobobobobo/
https://www.youtube.com/@chabobobobobo

3) Jo Kennedy - Holding the Rain

Holding the Rain is a listen to blanket bogs and two experts working to protect and restore them. We hear both from Tia Crouch - the National Trust's peat ecologist, and Gill Wrigley - Sphagnum Project Officer at Calderdale Council, West Yorkshire. A lot of our UK blanket bogs are badly degraded (we hear why) but work is going on in our uplands to re-wet them and restore them ecologically. A healthy blanket bog is not only alive with life but can store vast amounts of carbon, alleviate flood risk, prevent the spread of moorland fire, and help purify drinking water! Holding the Rain was originally part of an installation with sculptor Sally Barker, shown at the Peat Appreciation Society's exhibition at Gibson Mill, Hardcastle Crags, West Yorkshire in Spring 2026. It was designed for listening to on headphones, not room speakers.

Jo Kennedy is a Todmorden – based sound artist who uses field recordings, found sounds, spoken word and music to create immersive audio experiences, whether these be fixed pieces, soundwalks or installations. Her creative practice often engages explicitly with ecological issues, responding to questions about our relationship with the living world. She co-produces Nature Tripping podcast and is also a Director at Yorkshire Sound Women Network (YSWN), a CIC working to address gender imbalance across the audio industry.

http://www.jokennedysound.com

4) Myriam Bessette - Sans alerte

In my neighborhood, I adopt wandering as a method for capturing and shaping unstable sonic material in real time. I recombine this fragile matter through attentive listening, allowing a form of sonic writing to emerge — shaped by tension, accident, and micro-events. Sans alerte (No Omen) traces the subtle, latent ruptures embedded in everyday experience.

Holding a bachelor's degree from the School of Visual and Media Arts at UQAM, Myriam Bessette explores drawing and sound sampling, which she transforms and animates using technological tools. Her sound installation works have been presented in Canada and in many European cities, including Istanbul, Leipzig, Ghent, Marseille, Stuttgart, Trieste, Paris, Barcelona, and Brussels. Additionally, her animated works have been showcased at numerous festivals, including Sónar (Barcelona), New Zealand International Film Festival (Auckland), European Media Art Festival (Osnabrück), and Elektra (Montreal). Myriam Bessette lives and works in Montréal.

http://myriam-bessette.com
Lost in Transmission 1 - Shona Macnaughton – ‘Look! She has her eyes wide open’

7 September 2026 2:00 pm - 2:30 pm

A live performance for Lost in Transmission, Edinburgh Filmhouse, 4th April, 2026. A Radiophrenia event produced with the support of Creative Scotland.

Look! She has her eyes wide open is a performance about life choices made in the name of art. It both commemorates and celebrates the 18th birthday of a decision made in order to be an artist. Mixing metaphors of birthing, aborting, and creativity, the performer uses slapstick and rhythmic phrasing to embroil the audience into their own collective decision. Based on a documentary film about a French feminist organisation and their efforts to collectivise both birth and abortion, titled after a rough translation of the French ‘Regarde, elle a les yeux grand ouverts’ (1980), the performance approaches these issues from their real lived complex scale of ambivalence to trauma, with humour and tragedy. The imagined ‘baby person’ is both the performer, the audience and the life work that has led to the performance itself, and at the behest of a countdown we are asked - should it continue?

Shona Macnaughton is a performance artist, she makes live events based on artefacts from alternative political life from the past, as a monstered version of her artist self. Shona has performed and exhibited nationally and internationally in galleries, museums, theatres, gig venues, clubs, dives, virtually and on the street. Recent projects include ‘The Participatory Clinic’ (2025) Glasgow Women’s Library, ‘Creative Discharge’ (2024) AVU festival, Prague and ‘Here To Deliver’ (2020), performed internationally over the phone, commissioned by Edinburgh University’s Contemporary Art Collection.

https://www.shonamacnaughton.com/

Lost in transmission was a series of events presenting non-English language radio works with subtitled translations in cinema spaces around Scotland. The captioning allows audiences to experience the wealth of radio art available from all over the globe in its original language in the comfortable space of a cinema – in much the same way as you might go to see a foreign language film – only here there are no pictures, just the sounds, the words and your imagination.

For each of these programmes of radio works there was an additional short voice based live performance by a local artist.
Northfield Lenox - Uncleared Stairs

7 September 2026 2:30 pm - 3:00 pm

“Uncleared Stairs” is a soundscape that incorporates samples of newscasts related to the events of April and May of 1986. The news reports have had all identifying information and event details audibly removed, blurred or masked by the authorities so that only the framework of the story remains. The scape is divided into seven chapters that are each bracketed with a musical sounder and a message in morse code. The interstitial spaces remaining have been filled in with abstract debris from the explosion.

Artist bio:

Northfield Lenox is a one person computer production music project from Manitoba Canada. Only virtual instruments are used for original material, which is then combined with samples from media and film archives, radio, and other field & audio recordings.
(Also, occasionally collaborating with other humans.)

Website/social links

https://northfield-lenox.com/
https://soundcloud.com/northfield-lenox/albums
Hildegard Westerkamp - The Soundscape Speaks - Soundwalking Revisited (2021)

7 September 2026 3:00 pm - 3:40 pm

It has often been said during this past year of the pandemic that Covid is ‘only the beginning’ and that the much larger crisis ahead of us is climate change. An obvious question to ask then is: What is our relationship to the environment? And is the natural environment interesting enough to us – indeed, do we know enough about it - that we would want to protect and save it from further ravages?

The sound environment has much to tell us - it simply ‘voices’ all activities - and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing.

During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio. Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed.

Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.

Composition and Spoken Voice by Hildegard Westerkamp
Premiere: April 24, 2021, the BEAST FEaST 2021, at the University of Birmingham, UK

Biography:
Hildegard Westerkamp (*1946 in Osnabrück, Germany) is a sound artist, sound researcher, composer of electroacoustic music, sound ecologist, flutist, pianist, and author. Her works, which have been performed worldwide, chiefly focus on aspects of the acoustic environment. Westerkamp moved to Canada in 1968, studied music at the University of British Columbia and joined the World Soundscape Project at Simon Fraser University to explore soundscapes under the direction of R. Murray Schafer. She later taught courses in acoustic communication at Simon Fraser University and has written extensively on soundscapes, acoustic ecology, and listening. She is a founding member of the World Forum for Acoustic Ecology and lives in Vancouver.

http://www.hildegardwesterkamp.ca
Diana Duta - mess-punkt

7 September 2026 3:40 pm - 4:00 pm

'The wind has stopped. Time has stretched. What do you see? Water. Only water.'

The middle is an abstraction. Here, time holds different meanings for different species. How does a rock experience the slow passage of years? This sound piece was recorded in one continuous take, with all the elements flowing together at once, spontaneously intersecting voices and the many sonic streams, perhaps not unlike the erosional forces that give shape to landforms. Lorelei, the steep slate rock located in the Middle Rhine Valley appears like an ear of stone, picking up reflections carried by storm and wind. A sea-singer, merrow or mélusine, wandering about the shore. Not only a place, but a presence rising above the many bodies of water, contained both around and within us. For at the smallest scale of reality, time vanishes; there is no difference between past and future.

Artist bio:

Diana Duta is a Brussels-based artist working with sound in hypnotic ways, with a background in art and socio-cultural linguistics. She investigates inhabiting different subjectivities beyond brain-created narrative fictions. How can sound ecology reconfigure identity—who we are relationally? Guided by biosemiotics, cognitive science, poetry and embodied voice practices, her work finds common ground with other sentient life forms around us. She makes works for radio, installations and experimental music as DIAN and is half of t.r.a.n.c.e. community hypnosis project. In 2019, she founded Jambes, a recording studio commissioning new work by artists experimenting with sound and voice.

Website/social links

https://dianaduta.com/
https://jaaambes.be/
https://tr4nc3.com/
https://www.instagram.com/dianaduta_/
Radiophrenia Shorts 50A

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

1 Lautaro Nuñez Müller - Humedad Centrípeta (5:33)

2 Józio - I have made a consensus on the radio (9:03)

3 Alessia Damiani – Evaporation (9:07)

4 Anna Stereopoulou – Akroproron (2:54)

5 Jung HUO - Hot water (5:15)

1) Lautaro Nuñez Müller - Humedad Centrípeta

"Humedad Centrípeta" is a series of four sound pieces that emerged from revisiting, reworking, reciting, and surrounding with sounds four poems written by the artist a few years ago: suicidal buildings; natural disasters arriving in a place that always seemed foreign, distant, deaf to them; a humidity that sticks to brains; wise armpits that resist with the gesture of protection. Will things escape first, or will we? The pigeons, the buildings, or the esoteric teenagers who contact the sun?

Lautaro Nuñez Müller a.k.a Lata (Temperley, Argentina) is an artist who works with sound using an approach closely linked to the technique of sound collage. He holds a degree in Multimedia Arts from the National University of the Arts. His latest works are the exhibition "Geología de una nube", the mixtapes Omega I, II, and III, and the album Corso Hipno, released by the Buenos Aires-based label Isla Visión. Since 2024, he has published the zine "El Susurrerío" in which he interviews diverse Argentine artists whose work incorporates sound.

https://lata.bandcamp.com/ - https://www.instagram.com/latanun

2) Józio - I have made a consensus on the radio

The foundation of "Consensus etc." is a collage of miscellaneous field recordings and shortwave radio snippets gathered throughout my travels when I was meeting friends in places that are old but seem new and there's something very scary about that. In the composition process, originally for Warsaw's first 8-channel speaker system, I added numerous layers of prepared guitar, circuit-bent electronics, and no-input mixer, tuned to match chosen resonances within the original recordings. These instruments together form the buzzing drone heard in the second part of the piece. Layers of electric guitar ultimately come together in a spectral harmony which is slightly higher than the ambient one at the start (50Hz)—some distance seems to have been conquered and a consensus has been reached.

Józio Urbański is an emerging musician and sound artist whose work has taken the form of performance, installation, and
composition. He holds a deep curiosity for the locality of sound and our varied experience of time within it, which has led him to explore areas such as
free improvisation, deep listening, synthesis, feedback, tape loops, drones, coding, transducers, just intonation, spectralism, radio, electroacoustics, and field recordings—using the latter as both research and as cut-up material. His most recent projects seek, in different ways, to extract harmony from improbable sound sources within his local environment.

joziourbanski.com/portfolio.pdf

3) Alessia Damiani – Evaporation

The piece explores evaporation as a metaphor for inner human transformation: a slow, almost invisible process in which what once felt solid gradually shifts into another state. Meditation functions as the driving force behind this transition, creating a space of deep listening and suspension where change can occur. Through meditative attention, the self begins to loosen its boundaries, mirroring water as it lightens and disperses into air. Sound traces this journey, moving from dense, grounded textures toward fragmentation and openness. Evaporation becomes an intimate act of release and renewal, revealing transformation not as rupture, but as a quiet, continuous unfolding of awareness.

Alessia Damiani is a composer, performer, and multimedia artist active internationally in Italy, the UK, the USA, Mexico, Spain, and Germany. Her works have been presented at festivals including the New York City Electroacoustic Music Festival (NYCEMF), MUSLAB International Electroacoustic Music Exhibition (Mexico), and Mediagrammi (Berlin). Her M-Flute A/V Performance was selected for several European festivals. In 2019, she created sound design for an interactive exhibition by photographer Riccardo Truffarelli. She has taught sound design, electroacoustic composition, and musical computing at major Italian academies and conservatories. Her solo practice explores repetition, the aesthetics of error, and extemporary sound.The piece explores

http://www.alessiadamiani.it

4) Anna Stereopoulou – Akroproron

Akroproron narrates the beginning of the sailing and the conditions onboard, as well as a calling coming from the ship's Figurehead (Greek: 'Akroproron'), where an imaginary battle is given between the Sea and other elements. It consists of Field Recordings, analogue Synthesizer and Voice, spreading "sals" on a manic unification of "ἅλς–háls–als–sal", with a sound-onomato-poetic license.
The work is part of ALS music album (Anna Stereopoulou, 2026) and the same-titled sound installation (work-in-progress), a study on the sound of-at-around the Sea and Salt (Live Premiere: Scientific Conference "Salt Flats and Cultural Tourism: Municipalities of 'Sacred Town of Messolonghi' & Lesvos island", University of West Attica, 2023). It is getting developed through the recording and expression of the cultural value of the eco-system and surrounding space of the salt-flats and wetlands, commenting on the Acoustic Ecology and Psychogeography of each location, through time.

Composer, pianist and researcher Anna Stereopoulou specialises in the Music Composition for Film & TV. She has presented her art worldwide, in Cultural centres and Archaeological-sites, and has worked as an Advisor-Programmer in Music & Film Festivals, as part of her activity in Culture, Education, Journalism and Tourism, and her Interdisciplinary Research.

https://annastereoscopic.wordpress.com/
https://annastereo.bandcamp.com/
https://www.youtube.com/user/annastereo
https://www.facebook.com/AnnaStereopoulou
https://www.instagram.com/annastereoscopic/

5) Jung HUO - Hot water

Here is an amusing story about my stay at a friend’s place, where there was no hot water for the shower. My friend suggested that I heat water with a kettle.

One day, due to the unsanitary condition of the apartment, it was announced that the entire building would be evacuated the following day. Moving constantly, staying at other people’s places… It was only when I burned myself with the hot water that I realized how absurd all of this was.

Jung HUO (born in Hsinchu, Taiwan, 1997) is a Taiwanese artist currently based in Paris. Her work encompasses installation, sound, video, and performance. She focuses on daily and ritual gestures and actions, extracting small moments of discomfort and transforming them into a dislocation of tangible objects, capturing the poetic elements within their political significance.

http://www.junghuo.com
instagram : jung.huo
Radiophrenia Shorts 50B

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

1 Kathryn Wardlaw - Feeling at Home (4:33)

2 ifuseekamy - Posthuman Desire (3:44)

3 The Given Ghost – Rings (4:38)

4 Craig Stewart Johnson - An Attempt at Documenting Exteriors (12:26)

5 Landon Caldwell - Memory Flows (1:54)

1) Kathryn Wardlaw - Feeling at Home

This composition aims to push the recognisable sounds of life to a place where they are no longer recognisable. Focusing on the kitchen, which I feel is the heart of a home, I captured the sounds of action and life. Everyone can recognise the human voice or a kettle boiling, so my goal in this composition was to create an environment where the listener must question the sounds they are experiencing. I wanted the beginning of my composition to be confusing and to gradually clear up until the sounds become understandable and familiar. Having the human voice and laughter included in this composition was important to me as I believe these things are what make a place sound, and feel like home.

Kathryn Wardlaw is an Edinburgh based Scottish sound artist and musician. In her work she captures the mundane and recognisable sounds of life and locations and aims to transform them. Her work consists of soundscapes, trying to capture the feeling of day-to-day life in varying locations, and acousmatic compositions that change the familiar into the strange.

https://www.instagram.com/kathrynwardlaw_
https://www.youtube.com/@kathrynwardlaw
https://www.KathrynWardlaw.com

2) ifuseekamy - Posthuman Desire

Posthuman Desire brings earthly, soily, confusing desires to the forefront. In order to reconsider our relationships with the world around us we need to break free from our cagey, limiting, human-bodies. Inspired by Alison Sperling's "Weird Embodiment" (2020), Posthuman Desire calls us to dissolve our bodily boundaries and restrictive ways of thinking, leaving heterosexual and human-centric relationships behind in favour of alternative relationship dynamics and intimacies. It is a non-hierarchical, messy, muddy, swampy exchange which questions "western notions of the self and of subject-hood" (Sperling, 2020).

ifuseekamy (b. 1999) is a transdisciplinary artist enchanted by that which lies below; looking to the earth for soily solutions. The foundations of their practice begin with radical empathy, as they are unafraid to question, poke and prod limiting beliefs inherited by various institutional structures. ifuseekamy’s work has been shown at: The Horse Hospital, Safehouse, Electro studios, Bauhaus Universitat Weimar, University of Mississippi and UCA Farnham.

https://ifuseekamy-portfolio.tumblr.com/
https://www.instagram.com/ifuseekamy_/

3) The Given Ghost – Rings

"Rings" is the 6th track from the album "Fluid Noumena". It is a sonic exploration of an inner image: Being, whether general or particular, can be seen as a series of concentric circles; they are shaped like ripples or, perhaps, the links of a golden chain. In a sense, these circles overlap, inter-penetrate one another, and radiate from centers of Being, which is everything seen and unseen.

In an environmental sense, these rings are the links between all things, all beings, all forces, which are unified into a "field" of Being.
From this, it is my sincerest hope as the artist that my attempt to capture this impression (albeit abstract) can be intuited also by the listener.

The Given Ghost is an ambient, experimental, and hauntological project of Kansas City-based composer, sound artist, and multi-instrumentalist, M.A. Weidman. The project attempts to convey notions of metaphysics, memory, and phenomenology through the use of sampling, synthesizers, and field recordings

https://thegivenghost.bandcamp.com/album/fluid-noumena
https://www.instagram.com/thegivenghost_music?igsh=MXNsemg5MWl4cmY1bw==

4) Craig Stewart Johnson - An Attempt at Documenting Exteriors

In an homage to Georges Perec’s An Attempt at Exhausting a Place in Paris and Annie Erneaux’s Exteriors, this short sound piece documents the mundane sounds of the everyday.
Using limited means – iPhone voice notes, pocket recorder, Dictaphone – this work materialises in periods of movement and stasis - travelling, waiting, traversing, reflecting. The sounds are embodied with my pre-occupation with the notion of the ‘in-between’, captured neither in the spaces of leisure or the spaces of work, but during those moments that occur in between these binaries. The fragments of sound assembled here have been recorded over the past three years while working on my PhD, a process which further blurred the distinction between my work and leisure time.

Recorded in various space and places across England, Scotland, Italy and Portugal on trains, in cars, while sitting, walking and staying still.

Craig Stewart Johnson is an interdisciplinary researcher and artist whose work revolves around an interest in DIY modes of cultural production.

Artistic practice spans recording and performance, alongside collage, print and installation – all of which revolve around an interest in the aesthetics and infrastructures of DIY culture and are rooted in a desire to create a space for improvisation, experimentation and collaboration. Craig recently completed his PhD titled The No-Audience Underground: Navigating Degrees of Autonomy in a DIY, Experimental Music Scene.

https://craigstewartjohnson.com

5) Landon Caldwell - Memory Flows

Memory Flows is a study of memory, mythology, and regional identity through sound and words.

Landon Caldwell is a multi-disciplinary artist and composer in Indianapolis. His work is primarily centered on sound experiences, exploring multi-channel installation, film & video, writing, improvisation, radio art, and more in a practice focused on themes of environment, family, and class. His work uses any tool at hand to explore the modern midwest psyche.

http://www.landoncaldwell.com
landoncaldwell.bandcamp.com
IG: landonscaldwell
Ali Robertson - The Wireless Dummy (live in the studio)

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

The Giant Tank Institute For Low-Brow Avant-Thought’s resident organiser/improviser Ali Robertson is probably best known for courting public shame in the duo Usurper, with Malcy Duff, but now most frequently exercises his unfunny bone as one half of 'Off Brand, with Firas Khnaissr, and as one third of Black Affrontit, with Karen Constance & Dylan Nyoukis, while sporadically pleading for redemption via the altogether more wholesome Sonic Bothy Ensemble.

In this semi-improvised in-studio performance, concerning long and short-term memory, disembodied voices, and the history of ventriloquism, Robertson will ponder his own personal experiences as a partially deaf artist living with ADHD and PTSD, and the ongoing, and frequently infuriating, experience of attempting to care for an ailing relative remotely. Serious themes, but delivered with humour and musicality of sorts.

https://gianttankeh.tumblr.com
https://gianttank.bandcamp.com
https://duffandrobertson.bandcamp.com
Buffer Zone

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

1) Kassel Jaeger aka François J. Bonnet - Dissipation of Light (6:56)
2) Masimba Hwati - Porcupine Quill dream (6:04)
3) Tony Morris – Back of your head (1:00)
4) Karlheinz Essl - The Other Day (8:01)

1) Kassel Jaeger aka François J. Bonnet - Dissipation of Light

From the album 'Shifted in Dreams'

2) Masimba Hwati - Porcupine Quill dream

Porcupine Quill Dream is a track from Hwati Collino, an album by Masimba Hwati and Michael Collino, recorded in Warren, Michigan, during the COVID-19 pandemic in 2020 and later released by Alien Passengers.

The album grew from a simple idea: what if dreams could become music? Instead of telling their dreams as stories, Hwati and Collino treated them as sound. They recorded, cut apart, and reassembled dream fragments using the cut-up technique, letting chance reveal unexpected rhythms, textures, and meanings.

This particular track is inspired by Masimba Hwati's dream of a porcupine quill from his childhood home. Moving between memory and imagination, Porcupine Quill Dream invites listeners into a space where dreams are not explained, but heard.

3) Tony Morris – Back of your head

4) Karlheinz Essl - The Other Day

This piece was written during the COVID_19 lockdown. Trapped in my house for weeks, I felt an urgent need to break out of my den and explore unknown areas of my immediate surroundings. Equipped with binaural microphones that can be plugged directly into the ears, I recorded the sounds of the environment. During these excursions, words spontaneously came to my mind which later I transformed into poems. They appear as mysterious whispering voices (ASMR) in different languages (German, English, French, Italian). Besides this, one will hear sounds that seem to emerge from a completely different - more transcendent - world: electronically transformed organ sounds and church bells. With headphones, this piece can be experienced as spatial audio in 3D sound.
This is an eight-minute excerpt of a virtual, infinite, interactive sound installation, optimised for radio broadcast.
Commissioned by Musikprotokoll (Graz 2021) and the Austrian Radio.
https://www.essl.at/works/the-other-day.html

Artist bio: Born 1960 in Vienna. Composer, improviser and performer. He studied composition with Friedrich Cerha and musicology in Vienna. In addition to writing instrumental music, he also works in the areas of electronic music, interactive real-time compositions and sound installations. He develops software environments for algorithmic composition and live electronics. As a performer and improviser he plays his own computer-based composition environments as well as instruments such as toy piano, electric guitar and modular synthesizers. Composer-in-residence at the Darmstadt summer courses, IRCAM (Paris) and the Salzburg Festival. Between 2007 and 2025 Professor for electronic and experimental composition at mdw Vienna.
https://essl.at
https://www.facebook.com/karlheinzessl
https://www.youtube.com/KarlheinzEssl
https://soundcloud.com/karlheinz-essl
https://open.spotify.com/artist/6RP75HIDnqGDtzLq4lpCFE
Antje Vowinckel - Sisyphon

7 September 2026 6:00 pm - 6:30 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, adio 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
Joan Schuman - Grief-wild and other works

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

Grief-wild
By a whisker
On the dead bones

Grief-wild

In the week before a momentous war’s anniversary, a picture starkly intrudes. Narratives make us understand; photos haunt us. The repeated song is repurposed in an attempt to ground all that is thrust at us. It’s a mantra of hope in a world gone wild.

Writing, vocals, composition: Joan Schuman
First commissioned for the Electroacoustical Poetical Society, 2024.

By a whisker

According to C.G. Jung, dreams of car crashes warn us that we need to get better control of a situation.

Beginning just after Trump’s election, figures causing near crashes began appearing with greater frequency in my dreamscape. While this could reflect an inner turmoil, it could also signal an accumulated collective unconsciousness around the egregious collapse of rules in the U.S.

These dreams of near-misses scream and whisper. It has felt like a kind of bardo, akin to the dreamworld in its liminal state. Like death, we know it will happen. And we want to honor its transit.

Writing, vocals, composition: Joan Schuman.
First commissioned for the Electroacoustical Poetical Society, 2025.

On the dead bones

Synopsis of piece: History is not a mound of discrete moments of upheaval—the sudden upthrust of the ground we’re standing on, the catastrophe.

History is often simply detritus: A stash of letters, a collection of war-time incidences, what’s left after the fires burn.

History is liminal: it spirals into our present. In our current burning, imploding world, we converge our stories, unfolding quickly or gradually, sometimes unvoiced. A witness.

A languid history is indolent, lethargic, fatigue-laden.

Writing, vocals, composition: Joan Schuman.
First commissioned for the Electroacoustical Poetical Society, 2025.

Artist bio:

I make radio art; organize and present other sound artists on various platforms; mentor radio art archivists; and teach online (sound culture and production courses through The New School). I am mesmerized by sounds along the California West Coast, where I live and return to from other geographies.

Website/social links https://www.joanschuman.com/hyperacousia/
4PM Slump - The Look On Their Face

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

The work consists of a collage of field recordings of walking, sinking and clanging, snippets of voice notes, text turned into sound and instruments.

It explores the idea of walking and not finding a bog and otherwise walking and finding too much bog. The changes in the landscape, environment, flora and fauna that we are removed from until we try to seek it out. It explores the idea of preservation and submission to something bigger than us and something which we cannot change.

it is also fragmented, sometimes sinister, silly, lighthearted and deeply serious.

Artist bios:

Hanny is a primarily visual artist who is interested in moss, lichens, experimental archaeology, patterns and repetition of organic forms. she does not really know how sound works but she likes to play.

Andy is a DJ, radio enthusiast and musician who first had headphones put over his ears around the age of two and has never stopped listening to everything and everyone since then.

Website/social links

https://www.instagram.com/puredafty
https://www.instagram.com/ultimatejunk
Jimmy Peggie - Immigrants and Ancestors

7 September 2026 7:30 pm - 8:00 pm

I am an immigrant. My mother was an immigrant.

Throughout human history, migration has been a defining and constant force. From the earliest ancestors who ventured out of Africa to modern immigrants crossing borders today, humans have always been on the move. These journeys were driven by many motivations: the search for food and resources, the desire to explore unknown lands, the need to escape conflict or persecution, and sometimes simply the curiosity to experience something new.

This instinct to move, adapt, and seek opportunity is deeply ingrained in human nature. By examining immigrants and our ancestors together, we can better understand how movement has shaped cultures, societies, and identities across generations and how migration continues to influence the world we live in today.

This experimental abstract soundscape is made for radio using only voices of immigrants - both from the past and the present.

Artist bio:

Jimmy Peggie is a Scottish-Estonian sound and multimedia artist based in Phoenix, Arizona. His artistic work is focused on natural and urban phenomena with an appreciation that all things are in a state of flux - ever changing, imperfect and incomplete - using this to help identify a sense of our place within the transient nature of all things. His sound art work has been included at many art spaces and events internationally. He currently composes hour long, monthly, sound art radio shows in France, Poland and South America.

Website/social links

http://jimmypeggie.com
https://www.instagram.com/avantologist/
Kunstradio 1: Bill Fontana - "SUBTERRANEAN SOUNDINGS" (33)

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

Broadcast: March 5th, 1998, Kunstradio

A radio mix featuring acoustic elements from Bill Fontana’s two-part sound sculpture “Acoustic Tomography in the Wien River,” which was presented at the RadioKulturhaus in Vienna in December 1997 as part of the KUNSTRADIO project “Recycling the Future IV” to mark KUNSTRADIO’s tenth anniversary.

According to the artist, a memory of the now-famous crime thriller “The Third Man” played a certain role in the concept for this sound sculpture: for the sculpture was—and ultimately remains—a magnificent instrument for exploring and probing the acoustic space of Vienna’s underground canal system.

Microphones placed at carefully selected locations captured the sound of flowing water as well as the resonance of the vast space. In addition, Fontana installed a kind of sound machine that projected tones into the space at regular intervals to generate echoes.
Microphones installed at various points along the tunnel recorded the acoustic delays resulting from the echoes.

These sounds were broadcast live to the RadioKulturhaus, where they could be heard at various locations (the main entrance and in Studio 2).

The acoustics of the canal system’s spatial branches, as well as the echo-triggering “sound explosions,” unfold their eerie yet cozy effect not only on site but also in the radio studio.

https://www.kunstradio.at/1998A/5398.html
Caroline Preziosi - PNEUMATICS

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

The word “pneumatics” is defined as (1) containing or operated by air under pressure; moved or played by means of air; (2) of or relating to the spirit, or souls; and (3) carrying air (the cavities in the bones of birds).

In radio propagation, the “grey line” is the shifting atmospheric boundary or twilight zone between day and night within which radio waves’ transit between a transmitter and receiver is very efficient and offers superior long-distance communication.

This work is comprised of a text composition scored for radio, grey line and field recordings, and long-distance listening. The work explores poetics of radio space, grief and relationships with the unknown, and a doubled space of absence.

Artist bio:
CAROLINE PREZIOSI is an artist, poet, and researcher. Her practice intersects language, sound, ecology, photography, and radio space. She holds a BA in writing from Johns Hopkins University, and an MFA from School of the Art Institute of Chicago. Her writing can be found in Poet Lore, Little Mirror, BRUISER, Denver Quarterly, Windfall Room, Earlid, Resonance: A Journal of Sound and Culture, and elsewhere. She co-edits the journal NAVIGATIONS. She works in radio with Wave Farm / WGXC 90.7-FM.

Website/social links

https://www.carolinepreziosi.com/
https://www.instagram.com/caroline.preziosi/
https://wavefarm.org/wf/archive/d89aw6
Julio César Palacio - What about China?

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

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/
Radiophrenia Shorts 35A

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

1 Ángela Hoyos Gómez - Conjunction podcast (7:22)

2 Dorota Blaszczak - Echoic Memory: Waiting to Be Heard #1 (5:00)

3 Adam Mirza + Akiva Zamcheck – StudioNYC (6:58)

4 Boyi Bai - Take Me Back to Indonesia (7:27)

1) Ángela Hoyos Gómez - Conjunction podcast

Sound poetry can be inspired by outer space phenomena and permeated by its times, scales, and mysterious dynamics. In this radiophonic piece, distant planetary winds carry along animal calls, science fiction readings and vocal improvisations. Blending the experience of having followed the Great Conjunction of 2020 from the countryside, using an amateur telescope, with inspiring passages from Arthur Simack’s short story Desertion (1944), 'Conjunction podcast' sets a retro-futuristic immersion into imaginable multilingual and trans-species transmissions.

Composition and hostess voice: Ángela Hoyos Gómez

Vocal improvisers and readers: Maria Sappho, Isabella Ruiz Gallardo and Leah Stuttard

Voice processor programming: Juan Hernández

Multi-channel version: Ángela Hoyos Gómez and Juan Hernández

Ángela Hoyos Gómez plays together with Juan Hernández in the duo project Ulrica Duo, experimenting and improvising with sound – to movement – to color synesthesia, and creating scenes in which the morphing presence of the performers sketches cosmic tales. Their sound art projects Stamina Quimera, Aliento Cuerpo Selenio, Señorita Etc…, Miniperformance, and Tambambient have been presented in theatres and galleries in Bogotá (Colombia), Gothenburg and Stockholm (Sweden), Bergen (Norway) and Huddersfield (England).
CV - Arts Research:
2009 Master of Arts with specialisation in digital media, University of Gothenburg, Sweden
2024 PhD in Music Composition, University of Huddersfield, UK

https://ulricaweb.net/

Instagram: @ulricaduo

2) Dorota Blaszczak - Echoic Memory: Waiting to Be Heard #1

A few seconds of sound act as a buffer for our auditory sensory memory - echoic memory. Such short periods of time create a loop of context essential to our perception. This sound composition is based on a field recording (from November 5, 2025) and a real sequences of burning branches. Rhythms and relationships emerge as older sounds fade and new ones appear.

Dorota Blaszczak works in radio archives and at Music University in Warsaw. She teaches interactive sound, works with sound preservation, creates audio works and interactive projects, some based on long-term ecoacoustic observations. She has designed sound for VR and early computer games.

dorotablaszczak.pl

3) Adam Mirza + Akiva Zamcheck – StudioNYC

FRL (aka "Fake Radiolab") is the name of an ongoing duo performance project in which we interrogate mediated “facts” through explorations in the podcast media form. Our project self-consciously addresses radiophonic matter as both our subject and form. The result is a technologically and culturally hybridized discourse in which power-symbols presented as performative utterances are subsumed within an assault of genres. In particular, we use audio production to highlight and amplify the transformation of text into performance, and performance into text, powerful manipulations which we see as ubiquitous and scarily efficient throughout contemporary media culture(s).
We are submitting the title track "StudioNYC" from our upcoming album for broadcast. We regularly perform as a live duo, including multiple online/remote performances, and we would be excited to be considered for live performance as well -- either in person (schedule/finances dependent) or online/remote.

Adam Mirza is a composer and sound artist who works with various media, including acoustic and electronic music as well as sound at the intersection of video, theater and installation. His compositional approach involves the re-configuration and abstraction of bodily gestures and politically charged or otherwise culturally resonant sonic media. Akiva Zamcheck is a musician and musicologist from Bronx, NY. His research focuses on contemporary music and urban political struggles. His creative work combines history, news/media analysis, and audio experiments.

https://academiccommons.columbia.edu/doi/10.7916/jqra-sq06
https://www.adammirza.com/outside-in
https://www.instagram.com/adamtahirmirza/?hl=en
https://music.emory.edu/people/biography/mirza-adam.html
https://music.lafayette.edu/people/akiva-zamcheck/

4) Boyi Bai - Take Me Back to Indonesia

This work grows from a field recording made in Madobag Village on the Mentawai Islands. More than documentation, the recording acts as a sonic memory that transports me back to a moment of calm, sparking reflections on the contrast between the serenity of travel and the pressures of daily life. The piece explores the tension between two acoustic worlds. It begins by extending the gentle atmosphere of the island through soft drones and drifting textures, creating a liminal, dreamlike space shaped by memory and inner perception. This fragile soundscape is abruptly fractured by cold phone alarms and everyday noise, marking the collapse of the imagined space and exposing the conflict between longing and reality. As fragments of the recording reappear and merge with present-day sounds, the listener is suspended between wakefulness and recollection. The narrative remains open, shifting between memory, desire, and the unresolved pull of return.

Boyi Bai is a composer and sound artist whose works explore the intersections of soundscape composition, field recording, and VR immersive audio. His pieces have been showcased at various international festivals and events, including Sound/Image (London), MANTRA (Ecuador), PAYSAGES | COMPOSÉS festival (France), Sonic Nomads (Seoul), Rádio SOMA (Brazil), MA/IN Festival (Rome), BBC Radio 6, Radiophrenia (Glasgow), Radio Suyai TV (Chile), Sonic Arts Forum (Maynooth), Sound Junction (Sheffield), and San Francisco Tape Music Festival. Through a blend of environmental sound and electroacoustic techniques, Boyi’s work aims to create immersive listening experiences that challenge perceptions of space, memory, and auditory storytelling.

https://soundcloud.com/zion-bai
https://www.instagram.com/zion.peisi/
Radiophrenia Shorts 35B

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

1 Emilio Casaburi - Pumma (10:04)

2 Georgina Canifru - I'm sorry (1:00)

3 Parallax Diurna - Fragments of Post Convulsive Excitement (8:19)
4 Cheyenne Hendrickson - body organ (7:20)

5 Big Foam – Aviemore (3:54)

1) Emilio Casaburi - Pumma

The past is no longer forbidden: through technology, lost relationships and forgotten spaces can be revisited. ‘Pumma’ seeks to narrativize this experience, drawing on old VHS recordings of my family as its sonic foundation. The piece unfolds a journey across space and time, in search of renewed connections with lost ones. It blends acousmatic syntax, sonic imagery and textual fragments: an attempt to harness the full potential of the acousmatic listening condition to project a narrative of memory, distance, and re-discovery.

Emilio Casaburi (b. 1999) is a sound artist and composer from Italy. His artistic output includes acousmatic compositions, field recordings, audiovisual works, and installations. He graduated in Electronic Music under the guideship of Alessandro Cipriani in Frosinone and is now studying at the Institute of Sonology in Den Haag. His works have been selected for numerous festivals worldwide, including: Best Sound prize at the URTIcanti Film Festival in Bari (Italy), screening at the Sound and Image Festival in Greenwich (England), the Anamòrphosis International Film Festival in Lecce (Italy), the Daegu International Computer Music Festival in South Korea, and the NYCEMF

https://www.instagram.com/emiliocasaburi?igsh=MWJ0dmZzdnlhMHMzeA%3D%3D&utmsource=qr

2) Georgina Canifru - I'm sorry

Miniatura compuesta en contexto de residencia en el Taller Experimental de Música para alumn*s de composición en la Universidad Nacional de Córdoba, Argentina impartido por el músico y profesor Gonzalo Biffarella. La pieza sonora fue seleccionada en la convocatoria "LA LLAMADA" para formar parte de la muestra de Miniaturas Sonoras del Festival de arte sonoro y Música visual Bahía in sonora y en el Museo Ferrowhite de Argentina, 2017.

Artista visual autodidacta que desde 2012 ha participado en festivales y exposiciones de artes visuales, arte sonoro, radio arte, y especialmente performance en que incorpora sus propias composiciones sonoras. Indaga desde 2023 en la figura del esgrimista por medio de dibujo y performance sonora.
Publica Vacío Animal [Poesía] en 2009. Fue becaria del Taller de Creación Poética de la Fundación Pablo Neruda.

https://georginacanifru.wixsite.com/sitioprovisorio

3) Parallax Diurna - Fragments of Post Convulsive Excitement

This piece, constructed specifically for this event, is a unique work based on fragments of a long running mixed media work titled:
Post Convulsive Excitement - of which, the audio manifestation is assembled from magnetic tape.

Parallax Diurna owns nothing, including identity. Parallax Diurna doesn't exist, and is merely a strange energy which passes through everything and never repeats itself. 2.A transitory human form, a creative energy which has the potential to express and exist through, and in, any medium. 3.An entity that materializes when there is an opportunity to force the limits of paradoxical situations.

https://www.instagram.com/wavereflector/

4) Cheyenne Hendrickson - body organ

Body Organ is a recording of my body interacting with feedback in my art studio. Two Geofóns are attached to the floor, recording the faint vibrations as I stand between them and shift my weight from foot to foot. As pressure transfers through my body into the ground, the room responds with deep resonance. A feedback loop forms between my body and the space, turning the studio into a collective instrument.
Small movements produce changes in tone and volume. When I push my foot down, the sound intensifies, revealing how weight itself generates frequency. The work explores how I perceive my body in space and how space, in turn, perceives me. It asks whether resonance and subsonic vibration are forms of communication between body and environment. How do we know the body through the sonic soundscape? Does the environment know us as sonic feedback? What is the dialogue between?

Cheyenne Hendrickson is a multisensory artist whose work explores the human body from the inside out, focusing on the unseen, visceral realms of our internal world. Through sound, sculpture, and installation, she creates immersive experiences that give presence to the hidden bodily processes. Hendrickson’s practice examines how the body embodies histories, futures, and vulnerability, fostering empathetic engagement with these complex internal landscapes. She holds a BA from The Evergreen State College and a Master of Fine Arts from Georgia State University. Her work has been exhibited internationally and has completed residencies at Sound Art Lab (DK), SÍM (IS), CAMP (FR).

https://cheyennehendrickson.com/
https://www.instagram.com/cheye_nnehendrickson/

5) Big Foam – Aviemore

Aviemore is a piece which combines field recordings from the Cairngorms with musical sketches from the surrounding time period. Recorded on a cold weekend in February, the sounds of breaking ice and skipping stones are intermixed with steps, road sounds, and chatting. The musical sketches originate from improvisations on the piano and pump organ.

Big Foam combines musical sketches and field recordings to produce intimate soundscapes. The works are collaborative in nature and focus heavily on a sense of place. Inspiration is found in the the works of artists such as Hildegard Westerkamp a and the lo-fi efforts of songwriters such as Lou Barlow and Daniel Johnston. Previous works include 'From my phone to yours' and 'Big Foam'. These efforts are often improvisatory, often recorded in the presence of friends and loved ones.

Big Foam is releasing a new full length album in 2026.

https://www.instagram.com/big._foam/
https://bigfoam.bandcamp.com/album/big-foam
Limbo Calling: Season 2, Episode 1

7 September 2026 11:00 pm - 11:30 pm

The story continues with our solitary Radio Operator “83” working alone at a remote outpost in Limbo. His reports (to an un-answering HQ) are an insight into his experience of life, and the unusual things he picks up amongst the static drizzle. Recordings of curious music, scruffy broadcasts, odd sketches, recycled vintage material, disembodied voices and audio curios, as usual.

There is a visitor to the outpost, and new voices in this series that come from outside of his radar, potentially connected to the Operator’s missing companion Old Leonard…

https://limbotapes.podbean.com
https://noodsradio.com/residents/radio-limbo
https://limbotapes.bandcamp.com
Hannah Sullivan - Nightwalker

7 September 2026 11:30 pm - 11:59 pm

Nightwalker is set within a fictional city, made of aspects of many real cities, and follows a woman on a night walk. The text and the sound were written/composed at the same time, informing each other to create this sonic journey. Whilst making Nightwalker Hannah spent time in Bristol, Newcastle and Gateshead, Barcelona, Marseille and Edinburgh, and spoke with women about walking at night in Stoke-on-Trent. Nightwalker was developed whilst exploring new ideas for art work about women at night, seeking new narratives that bring out the beautiful qualities of nighttime and women’s lives at night. Nightwalker lives within a body of work aiming to foster a positive relationship to darkness, and generate alternative narratives for women at night. The piece includes solitude, relationship to the built world, nocturnal animals, transformation, fantasy, memory, sound, freedom, the body, altered physical states/experience, darkness, agency and returning home.

Artist bio:

Hannah is a interdisciplinary artist based in Bristol, working with writing, audio, performance, theatre, dance, singing and collaboration. She has made solo theatre shows, collaborative, participatory and site specific performances, workshops, audio pieces and two short story collections, one of which 'Pit Murk, is published by Conway and Young Small Press. Her work is tender, inquisitive and aims to create space to redefine. Her work has been presented nationally and internationally. She has a MA in Performance Research, BA in Theatre with Visual Practices from Dartington College of Arts, and is a member of Bristol based arts collective; Interval.

Website/social links

http://www.hannahsullivan.co.uk
insta: @hannsullivaan