← Wednesday 9th 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:

Dirk D'Hulster - Notes on the Administrative Life of Resonance

9 September 2026 12:00 am - 12:45 am

Notes on the Administrative Life of Resonance, is a project by Dirk D’Hulster in which sound and photography are treated as administrative systems rather than expressive media.
This project approaches resonance as trace rather than sound. Through a sound installation and photographic studies of piano strings, resonance is examined as a material process that leaves marks, accumulates residues, and undergoes regulation.
Sound and image function as parallel archives. What is heard disappears; what remains persists as material inscription.
The book on this project functions as an administrative artifact: a record of what remains.

Artist bio:

My work is located at the intersection of visual art and sound. I merge digital and photographic techniques to create a bridge between the present and the past. I use both data sonification and geophonic recordings.
exhibitions : London, Brussels, Antwerp,...

Website/social links

http://www.dirkdhulster.org/
Stefan Voglsinger エコー

9 September 2026 12:45 am - 1:30 am

エコー contains field recordings, snippets from live sets and line recordings I made in capsule hotels during my trip to Japan in May 2025. Trains, pachinko parlours, re-recorded radio transmissions, nature and urban ambience are collaged and recomposed throughout the album. All material was recorded in Tokyo, Nagoya, and Osaka. The two tracks Kagayaki and Kodama are both named after trains; their names translate to “glitter” and “echo.” Recording and editing: Stefan Voglsinger Mastering: Aras L. Seyhan Lable: TestToneMusic Nagoya 2025 Artist bio: Stefan Voglsinger *1986 is a musician and performer based in Vienna. He improvises with sine waves and noise generators sent through resonators, objects and membranes. Using open-source instruments for live sampling, he fuses these signals with filtered field recordings gathered during his travels. This practice moves the studio into the environment, unfolding through improvisation with unstable feedback systems and direct interaction with the surrounding context. He focuses on interdisciplinary experiments working with sound and image, developing performances or audiovisual installations including selfbuilt or hacked electronic circuits. Website/social links voglsinger.klingt.org setzkastenwien.at @knarx3
Jamie Lee - We are All Lichens Now

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

We are All Lichens Now comes from an exhibition of the same name at Nunhead Cemetery Chapel, 2025. The exhibition combined ceramic artworks by Emily Stapleton-Jefferis that drew from her ongoing research into lichens and a sound installation created for the event. Pioneer species, lichens are among the first species to colonise bare rock. Through chemical weathering they draw minerals from inert objects into the cycles of the living. Emily’s artworks, sculpted from foraged London clay show how lichen exist by presenting them at a macro scale. Taking inspiration from Emily’s sculptures and the histories, ecology and lichen of Nunhead Cemetery, Jamie’s accompanying sound installation transported the viewer into an emergent landscape of unique sounding organisms. Arranged around the inside and at the gates of the space, the diverging and overlapping layers of the sound piece divided the serene inside and chaotic outside of the chapel and cemetery.

Artist bio:

Jamie Lee (b. Bristol; based in South London) works across sound, moving image, photography, installation and printmaking. His hybrid practice is rooted in the history, context and design details of various sites and questions how places are constructed by the interaction of found objects, bodies and the architecture that contains them. Past projects involve recording the results of performances with cymbals on cliffs along the South Coast of the UK, where huge, monolithic concrete forms known colloquially as ‘Sound Mirrors’ represent the leaps in technological advancement during wartime. His music is released on record label Mortality Tables (2025).

jamieleeartist.com
https://www.instagram.com/jamie_leeartist/
Manja Ristić - Islands Live 45

9 September 2026 2:00 am - 3:00 am

Special mix for a special summer of 2026, of recent releases by Manja Ristić.
Including: Nine Sacred Mountains (excerpt) from Devet, released on Flung (2026); Barge (excerpt) from Lisoba, self-released (2026); Transgressive Bodies (2026) from the paper cuts, released on Scatter Archive (2026); tiho spuštanje (excerpt), yet to be published on Rekem Records in 2027; 9,999 Rooms of the Forbidden City, from Devet, released on Flung (2026); Nymphs of the Great Lake, from Calypso’s Dream by Manja Ristić & Mark Vernon, self-released (2024); tiho spuštanje (excerpt), yet to be published on Rekem Records in 2027; and, Genesis (excerpt), self-released (2025).

Manja Ristić is a violinist, sound artist, published poet, curator, and researcher. Ristić’s sound-related research, besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts. Ristić has created commissions for ORF musikprotokoll, INA Grm, Radiophrenia, Radio Art Zone, Kunstradio—Radiokunst, Semi-Silent, Radia.FM, Framework Radio, and all national broadcasting agencies across SE Europe. The winner of several distinctive awards for solo and chamber classical music, holds an honourable mention from the Phonurgia Nova Awards, and a Golden Award for extended media from the Association of Fine Artists of Serbia. She is a founding member of CENSE – Central European Network for Sonic Ecologies.

https://manjaristic.blogspot.com/
Conduction Series 2

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

The 2025/6 Conduction Series Truths Under Construction 12/5/2025 August Black, Peter Courtemanche, Florencia Curci, Anna Friz, Jimmy Garver, 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 2A

9 September 2026 4:00 am - 4:30 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

9 September 2026 4:30 am - 5:00 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
Radiophrenia Shorts 7A

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

1 Ilaria Boffa - +1 (5:17)
2 Yasmeen Al-Qaisi - May my tears moist your salt, Dead Sea (12:22)
3 Tristan Rhys Williams - Llech-Tal-Môn (Lôn y Bwbach) (14:42)

1) Ilaria Boffa - +1

This work is a collaboration with Italian musician Marco Lucchi and the sonopoem is a practice of Listening Across Species & more-than-human beings. How would we feel if we embodied others’ bodies?
Sonopoem by Ilaria Boffa, music by Marco Lucchi.
Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London.

https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa
https://www.instagram.com/ilaria.boffa/
https://soundcloud.com/marcolucchi

2) Yasmeen Al-Qaisi - May my tears moist your salt, Dead Sea

Synopsis of piece: In the centre of this underwater sound fable is a shāʿir’s melisma in a hammam in Ottoman Istanbul, who does everything possible to get in the hammam at night so he can mourn the future loss of Dead Sea. He manages to enter the hammam by walking in the city at night without a torch which was an act punishable by night patrols with forcing one to work in the furnace. The furnace worker helps him sneak into the bath-house to mourn. While singing the melisma and the words Baynans 3ysh wa millh بيننا عيش و ملح "We have shared bread and salt", the poet’s tears drop in maqam rhythms. While walking out of the hammam, a pair of Desert owls become the confirmation that his cry is heard. The shāʿir foresees our murderous geopolitical present: the diversion of Jordan River and potash extraction in the lowest place on earth.

Sound design for fire and water music: Will Kent-Daggett
XC395906 and XC781536 - Desert Owl - Strix hadorami on xeno-canto.com

Yasmeen Al-Qaisi (frequently misspelled) is a poet.

https://jasminescu.com/

3) Tristan Rhys Williams - Llech-Tal-Môn (Lôn y Bwbach)

One of two 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 7B

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

1 Paul Collins - Radio Spots - Figures Rythmiques (1:00)
2 Wolfgang Pérez - I AM TRANSFORMING (5:02)
3 Ellie Cherry - We All Became Moss (8:30)
4 KAZUYA ISHIGAMI - Beyond Houge Houge-Jaku (6:58)
5 Sooji - First Loves #1 - Gisele she walks, she floats (4:39)

1) Paul Collins - Radio Spots - Figures Rythmiques

This is a series of 17 one-minute radio-spots that use the radio itself as the primary source material. Random FM stations, in both Canada and France, were recorded and then manipulated using a variety of experimental methods and techniques. These one minute radio-spots are not designed to be played as a continous piece, but as individual elements, punctuating a day's programming or broadcast. A minute here, a minute there.

Paul Collins is a Toronto-born, Paris-based visual artist and musician. His paintings are represented by General Hardware Contemporary, Toronto. His prints are published by Michael Woolworth Publications, Paris. His most recent recording, Bez Vremena (2025), with Quentin Rollet and Marija Kovacevic, is now out on Astre d'Or Records. Collins is an active member of the Paris experimental music scene, playing frequently in such venues as Les Instants Chavirés, La Guillontine, Le Non_Jazz, Le Chair de Poule and Le Peine Perdue. He was a member of the Glenn Branca Orchestra.

https://www.instagram.com/paul___collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/

2) Wolfgang Pérez - I AM TRANSFORMING

In a Workshop with the great Meredith Monk I received the following task: "Choose any form from the outside world that strikes you. It can be natural (for instance, a tree) or manmade (for instance, a building). Take a picture of it. Study its structure. How is it put together? What are its units? What is the relationship between the units and the whole? Use that structure as a template to compose a 3-5 minute piece." This is the result. I took a photo of beautiful cliffs in Portugal (Aljezur) and was inspired by how they look like frozen waterfalls. They look static, frozen in time, but really they are always transforming, shaped by the waves - over millions of years - deep time sedimentation.

I carefully chose 6 notes on my Juno 60 each one entering after 30 seconds + some harsh piano attacks to symbolize the heavy waves.

Wolfgang Pérez is a half-German, half-Spanish songwriter, arranger, and guitarist from Germany, currently based in Cologne. With three albums released - WHO CARES WHO CARES (2021), AHORA (2024), Só Ouço (2025) - Wolfgang made his way into stages such as Moers Festival and the Cologne Philharmonie. He experimented with different formats and styles in his career, mixing pop, chamber music and soundscape composition. More recently Pérez has been diving into the rich Brazilian culture in his last endeavour - “Só Ouço”. The album has been critically acclaimed with Reviews in The Wire, Mojo Magazine and NPR Music.

https://wolfgangperez.bandcamp.com/album/s-ou-o
https://wolfgangperez.bandcamp.com/album/memorias-fantasmas
https://www.youtube.com/watch?v=bx2lc3olcHM
https://www.instagram.com/wolfgangperezmusic/

3) Ellie Cherry - We All Became Moss

"We All Became Moss" is a soundscape created entirely from field recordings gathered in the Scottish Highlands. Rather than present the field recordings in their literal forms, I wanted to shape them into something more representational of the abstract emotional landscapes I often find myself wandering when returning to memories of the mountains. Shapes shift; emotions blur. Flora, fauna, my flesh, and the ferns all dissolve into something old and strange.

Ellie Cherry is a composer and sound artist whose work is a surreal amalgam of acoustic and
electronic elements that explores the nebulous spaces between reality and perception. Fascinated
with the microscopic subtleties of natural phenomena, her artistic practice incorporates found
sound and improvisation, embracing the duality of acceptance and control, questioning notions
of ownership and exactness in how we create and experience sound.

https://www.elliecherrymusic.com/

4) KAZUYA ISHIGAMI - Beyond Houge Houge-Jaku

"Houge-Jaku" means to throw away one's attachments. "Houge" means to throw away. "Houge Houge-Jaku" means to throw away "Houge-Jaku".
In order to live comfortably, we should not be attached. However, if we are too concerned about not being attached, we may end up becoming attached to it.
Furthermore, beyond attachment, where do we go?

KAZUYA ISHIGAMI (b. 1972, Osaka/JAPAN) is a composer, sound designer, sound performer and sound engineer in the field of Electroacoustic/Acousmatic/Post-Acousmatic/Ambient/Noise, etc.
Since 1992 he has created under the name of DARUIN. He began using computers for composition and improvisation in 1994 with the programming language Max/MSP and others.
His pieces have been performed at CCMC (Japan), FUTURA (France), MUSLAB (Mexico), SILENCE (Italy), ICMC (2015_USA/TEXAS), Music From Japan 2020 (USA/NY) among others. He has an independent label, NEUS-318, and has released more than 100 works.

https://soundcloud.com/kazuya_ishigami
https://kazuyaishigami.bandcamp.com/
https://neus318.bandcamp.com/
https://omodaru.bandcamp.com/

5) Sooji - First Loves #1 - Gisele she walks, she floats

First Loves #1 is recorded on the Sequential Prophet VS from 1986. It is a series of vignettes derived from improvisations from a single session, a brief dive into the capabilities of this instrument and was the precursor to First Loves: Sequential Prophet 10, released in 2022.

Sooji is a Naarm-based musician creating works that explore adventurous sonic territories through performance, composition and spatialised sound installations. Working primarily with synthesisers and electronics, she embraces the unexpected outcomes that arise from collaboration and improvisation.
Influenced by diverse sources such as classical music and Italian electronic composers, Sooji’s intuitive approach to composition creates works that sit outside of traditional genre classification and often manifest as surreal sonic landscapes.

https://eternalmusicprojects.bandcamp.com/
Radiophrenia Shorts 8A

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

1 Agapi Zarda - Unbalanced Cycles (8:45)

2 Cat Parasite - You Feel Me... Pulsing (5:00)

3 Matilde Meireles – Three (11:49)
4 Linda Rae Dornan - Transcription: LoveLanguageLoss (5:27)

1) Agapi Zarda - Unbalanced Cycles

The Unbalanced Cycles composition refers to unsuccessful and repeated treatment cycles that I have undergone over the past two years. It’s a narrative about me, trying to be functional and creative during an autoimmune disease and a cancer diagnosis.

Agapi Zarda is a graduate of the Department of Science of Physical Education and Sports (UoA, 2011) with specialisation in Creative Dance, and the Department of Early Childhood Education (UTH, 2019) with research interest in Creative Music Pedagogy and Sound Technologies. In recent years, she has been engaged in electroacoustic composition and creative coding, exploring notions of interactivity, space – place and materiality. She holds a MA degree in sound art, “Sonic Arts and Audio Technologies” (Ionian University, 2024). She plays and studies trumpet focusing on the practice of free improvisation. She is member of Hellenic Electroacoustic Music Composers Association.

https://agapiz.netlify.app

2) Cat Parasite - You Feel Me... Pulsing

First track from album "Toxoplasmosis." Recorded at Messiah Riff Studios. The album is about personal experiences of mental health and systematic procedures for receiving diagnosis. This song is about the early warning signs and masking/hiding inner voices/ Pretending everything is ok. It touches on hypersexuality as a "symptom."

Meow

Catparasite.bandcamp.com
Instagram - Cat Parasite

3) Matilde Meireles – Three

Three compiles raw biodiversity recordings collected around Stranmillis Weir into a looping, exploratory narrative that examines the rich yet incomplete nature of field recording. The recordings include animal calls, animal movements and the occasional sound distortion. A narrator catalogues both recorded species and those present but absent from the sound files — exploring the gaps between actual presence and what technology can document in a fleeting period of time.

DRIFT was a collaborative floating architectural installation and public space that fostered new perspectives on city-river connections along Belfast's River Lagan during summer 2024. As part of this exploration, Wild Belfast—a Belfast-based conservation advocacy group—documented biodiversity around the pavilion using a Wildlife Acoustics Song Meter across a 4-day period within a 500-metre radius. DRIFT was commissioned by Belfast City Council and brought together OGU Architects, MMAS Architects, and myself.

Matilde Meireles is a sound artist and researcher who makes use of field recordings to compose site-oriented projects. Deeply exploratory, blending improvisation and other sonic flows with multiple approaches to recording, her work takes shape through live performances, installations, album releases, community-driven projects, workshops and both academic and creative publications.

https://matildemeireles.com
mtld_meireles (instagram)

4) Linda Rae Dornan - Transcription: LoveLanguageLoss

This is an audio art piece about dementia and caregiving recorded over many years as I cared for my partner, John Asimakos. Transcription reverses text from my journal, uses cutup techniques and constant repetition collaged with John’s own voice as he tried to communicate. Constant repetition references the incomprehension and deterioration of language evident within the gradual decline of dementia patients.

The audio work attempts to share an interior space of intensity and tenderness within the isolated world of dementia.

Linda Rae Dornan’s art practice is performative and interdisciplinary, inclusive of video, installation, performance, sound and writing. Each feeds into the other exploring how we speak/communicate and connect to each other, and the land around us. She has screened her videos and created performance artwork in China, Europe, and the Americas, and has attended many artist residencies. She is the recipient of the Linda Joy Media Arts Award for NB, the Stratbutler Award, The Sheila Hugh McKay International Artist Residency Grant and has been recognized by multiple arts grants. Since 2017, she has co-organized PERFform Biennale.

https://lindaraedornan.ca/
http://www.perfform.ca/
Radiophrenia Shorts 8B

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

1 Root Coiled - Merely Mended / Sterile Cap (15:27)

2 Paul Collins - Radio Spots - Phone In, Phone (1:00)
3 Water Feature - Various Birds - cream-faced loon (1:33)
4 Kate Paul - Grasses Interlude (19:34)

1) Root Coiled - Merely Mended / Sterile Cap

A visit to the endodontist. A root canal is paid for. You open your mouth, they lock the jaw open.

ROOT COILED is a sound art project of Pittsburgh based artist and educator, Dylan John Sidoriak. The project utilizes field recordings, ambient noise, and audio collages, to reflect and immerse oneself into the state of; sometimes forgetting about the center. Dylan John Sidoriak is involved with other experimental sound projects; The Ill-Fitting Party, and Stare Rail.

https://www.instagram.com/rootcoiled/

2) Paul Collins - Radio Spots - Phone In, Phone

https://www.instagram.com/paul___collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/
https://badge3.bandcamp.com
https://www.bisou-records.com/produit/paul-collins-patrick-muller-thierry-muller-quentin-rollet-correspondant-a-une-lettre/

3) Water Feature - Various Birds - cream-faced loon

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/

4) Kate Paul - Grasses Interlude

'My sadness is so joining and deep. The sky looks down at this plate of us with a strange
expression, like it must have entered the wrong room.'

A poem on dependency and existential threat in tall grasses, with sound by Ezra Berrnico and Carle Gent.

Kate Paul is an artist and writer based in Glasgow. Her work with text, audio, facilitation, and performance has been exhibited/published with NoBounds Radio, Fieldnotes, Presse Books, NTS Radio, Hot Potato Magazine, Phytology, Ruskin School of Art, South London Gallery, Market Gallery, the ICA, and Conditions Studio Programme. She makes collaborative writing and performance events with noï neneh and Roya Zahra Shadmand. In 2023 she was a recipient of a Shady Dealings with Language grant. In 2025 she had a solo exhibition at Listen Gallery in Glasgow called Whatever is Called the World (38 min 28 sec).

https://www.are.na/kate-paul-nfpxkafoju4/channels

@bait.ball
Radiophrenia Shorts 22A

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

1 BORȘ - vers pervers (5:06)
2 Alicia Elirena - Seeping Disharmonic Waves (9:45)
3 Viv Corringham - A walk by the lost river Walbrook (11:09)
4 Filipa da Cunha Gomes – Caustics (10:37)

1) BORȘ - vers pervers

This track/thing/piece opens a conversation with the 1946 famine in Moldova—a catastrophe often remembered in fragmented, contradictory ways. Some recall it as a famine caused by drought, others as a deliberate act of ethnic cleansing by the USSR. The narrative shifts depending on who you ask, but what remains is the silencing, distortion, absurdity of memory and the chaotic ways it performs. [...] This piece is not just about the past but about the present, about resisting the false and perverse memory still propagated through Russian disinformation today. The act of remembering, of unearthing silenced stories, is an act of healing.

Concept, composition and production by Mădălina Ciocanu
Mixing and mastering: Alexe Pupăzan
Translation in English supported by ORIZONT SONOR festival, Bucharest: https://vimeo.com/1156034503
Distribution: https://semisilent.ro/

Mădălina Ciocanu, un/commonly known as BORȘ (/bôrSH/), is a Moldovan sound artist, DJ, and researcher. Her practice explores Bessarabian relational animism, oral memory, and decolonial ontologies through folklore. She’s released both dance tracks (I’m Going to Chișinău) and sonic testimonies like vers pervers (on the 1946 famine) and Leagăn (with folklorist Natalia Țurcan). She leads the collective listening workshops Ciulește Urechile and co-hosts AICI Chișinău, a micro daytime dance party. Sometimes these explorations become conceptual installations (Simultan Festival, Au Gust Fest), other times — collective workshops (Porocity, Timișoara).

FB: https://www.facebook.com/madalina.ciocanu
IG: https://www.instagram.com/bors.beets/

2) Alicia Elirena - Seeping Disharmonic Waves

This piece is an exploration and an ode to using our voice, in the form of humming, and with the natural element of water, to create a soothing, as well as eerie feeling tones and sounds. The process of this piece was motivated and accompanied by a short film also named, Seeping Disharmonic Waves, depicting myself swimming naked in the ocean. This was a way to challenge myself to take up space, and be vulnerable with something I am scared of, the ocean. The process of making this audio piece was therapeutic, and it is my desire to offer that feeling to others as well. It is a playful and vulnerable project of recording the hums that may be "disharmonic", and shaping my own equilibrium from it, together with rushing waves, water droplets and running streams, layering on top of each other, one after another.

I'm Alicia, an artist currently based in Germany. I completed my Bachelor of Fine Arts in 2024 at the Willem de Kooning Academy in Rotterdam, The Netherlands. Now I am working within an interdisciplinary art practice that encompasses photography/videography, performance art, textile and sound. I like to describe myself as a tactile documentarian: someone that researches through physical means, and where the process is part of the work itself. My work touches on notions of identity, embodied knowledge and care systems from the perspective of a person of color, with the focus to bring more togetherness in our social surroundings.

instagram.com/aliciaelirena
www. aliciaascamera.com

3) Viv Corringham - A walk by the lost river Walbrook

In this work I follow one of London's "lost rivers" through the city to the Thames. As I walk I sing in response to what I'm hearing, and I tell what I know about this old vanished river. The work is part of a year-long project in 2023 called Soundwalkscapes, where I took a walk on the first monday of every month, wherever I happened to be. As I walked I recorded my sung and spoken responses along the way and later created pieces according to my memory of the walk. These were released as 2 CDs on the Flaming Pines label. This one occurred in September.

Since the late 1970s Viv Corringham has been singing a wide range of music: free improvisation,
Greek rembetika, Turkish folk and spontaneously created songs that often include field recordings and vocal processing.
Walking has long been an essential part of her work. She leads group soundwalks and listening
workshops based on her studying and working with Pauline Oliveros. On solo walks she
improvises with environmental sounds, and in her ongoing series Shadow-walks she responds to the
memory of walks that individuals chose as special for them.

http://vivcorringham.org
https://www.thewire.co.uk/audio/tracks/an-audio-introduction-to-viv-corringham

4) Filipa da Cunha Gomes – Caustics

“Thought is a transition, a passage to another place. At the same time, it remains on the threshold.” – Byung-Chul Han
It is necessary to find the right spots to have the body. The wait can take a while. It may even be that the whole experience resides in the waiting. Other thoughts are purified: those that we know do not pray, do not show, do not suspend the world nor lie down in it.
While I wait for something to emerge, I feel a total connection with everything around me: the noises outside, the cars, the melodies in my head, phrases… There is something that makes me stay present, not travel too far. There is peace, a questioning of the mystery that is observed, that’s going through my cells.
I travel, slowly. So I can remember I am free to live in my own pace.

A multidisciplinary artist who has explored and developed herself in the areas of interpretation, poetry, music (voice, violin, sound exploration), art for children and sound art, seeking to work with art as an element of reflection, a way to think, to stay present, to rescue human purity and essence, and as an element of resistance to the brutality of the speed and mechanization of contemporary life.

instagram: @fiilipagomes
https://radiovaivem.pt/hosts/filipa-gomes
Radiophrenia Shorts 22B

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

1 Congee Rats - Fake Your Behaviour Life Long (6:46)

2 Gabriele Hasler - Hymn of Perplexity (3:40)

3 pxyxy - Processed Live (9:56)

1) Congee Rats - Fake Your Behaviour Life Long

Voice sampled from an interview: "If people can fake their behavior (to fit the social expectation) lifelong, wouldn't it be really good?" Electroshock therapy provider, Yang Yongxin, 2009.
This track is dedicated to victims of inhumane therapies.

Congee Rats is the solo project of Dong Zhou, where electronic music serves as the core of cross-genre experiments, spanning influences from punk to world music. The songs are deeply reflective, often delving into pressing societal issues, particularly the experiences and struggles of marginalized communities.

https://dongzhou.live/2023/10/08/congee-rats/

2) Gabriele Hasler - Hymn of Perplexity

Hymn of Perplexity Chwsssdchauchnch (ich weiß es doch auch nicht | I don't know either) is a piece of spatial sound, or rather, a piece about what happens when I remove space from language, that is, when I omit the vowels and stumble from consonant to consonant. In this case, there isn't even a single voiced consonant, but a multitude of consonants that can be sustained by breath for a long time, creating a hissing and snarling sound, a whistling sound on the brink of cluelessness, no space! Yes, how is this supposed to continue? A voiceless hymn of perplexity, the opposite of the carefree optimism "wsssllschnsn?" (was soll schon sein? | what could possibly happen?), with which the heroine plunges forward her whole life. And what happens to the distant vowel spaces, the i - ei - e - o - au-i, the pitiful howl...

Gabriele Hasler's sound and tonal language is influenced by her involvement with contemporary jazz, electronic sound art and avant-garde pop. The exploration of the voice as an instrument led to a sophisticated collection of vocal techniques. Her voice is used both purely acoustically or amplified. In her "Hörfeld" thematic field recordings, soundscapes and loops are added. Hasler has been releasing on LAIKA Records since 2016, her solo-release."Herden und andere Büschel" received the German Record Award 1/2021 in the Grenzgänge category.

gabrielehasler.de
@gabriele-hasler (youTube)

3) pxyxy - Processed Live

Processed Live is an attempt to imagine the sonic experiences of those who claim to be victims of so-called electro weapons or mind control. If the claim that radio waves are attacking the mind and body of humans is not a mere conspiracy theory but is true, they have the ability to hear things that are not normally audible to the human ear, such as radio frequency signals used in wireless communication. The only problem is that the very ability to create a reality beyond simply recognizing the real-world is not controllable.

Boryeon Choi is an artist based in Seoul, South Korea. She is the author of K-OS (2020, Mediabus), a investigation into accelerationist modes of thought experimentation, and Processed Live 加工實況 (2025, Artpress Heem), which examines the epistemological problem of listening and the inferential limits of understanding others’ minds, in relation to sound. As part of her ongoing inquiry into what she terms sonic epistemology, she founded C.C.C. (Compulsive Credit Corp.), a platform dedicated to the study of belief, trust, and the acoustic conditions of knowledge formation.

http://www.boryeon.site
Radiophrenia Shorts 5A

9 September 2026 8:00 am - 8:30 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

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

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

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_
Shhh: A Soft Shell Broadcast

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

Shhh is A Softshell Broadcast brought together through a collaborative recording day and later woven together with found sound and music to produce an immersive sonic landscape. The sound work is punctuated with recorded chatter and discussion from the recording booth, a gesture to what can occur through collaboration.

Shhh is based on a series of texts, each at varying points in their process. They are experiments in overlaps, thresholds, and skirting around the edges. Objects appear and reappear in different voices, whilst sounds clatter and whistle through adjacent rooms. This is a translation of text to sound.

The sound piece is 33 minutes long and is a combination of recorded voice, field recordings and instrumental music.

Artist bio:

Will Farmer, Esther Hesketh, Maisie Wills, Emma Mortimer, Toby Üpson, Beth Emsden, and Sophia Kelly-Keegan are Art Writers, currently on the Art Writing course at Glasgow School of Art. Their collective practices explore a shared curiosity of the thresholds of form, objects, text and landscape.
Soft Shell Broadcast is an iterative process of translating text to sound. It incorporates performances, recordings and readings.

Website/social links https://theyellowpaper.org.uk
Anamaria Pravicencu & Manja Ristić - Gardens of Christiane. The Palestine from before.

9 September 2026 9:30 am - 10:00 am

In the shade of Palestinian gardens, memory once bloomed — fragrant with olive groves and the quiet gestures of care. These were spaces of closeness, of which Christiane Dabdoub Nasser recalls inviting us into her childhood and Palestinian culture from another time, where the Mediterranean breathed through shared rituals of tending and living in harmony with the land. Rooted in practices of cultivation, refuge, and sensory proximity, such intimacy has been systematically disrupted by the colonial project of the Israeli state, which reconfigured land into instruments of control and dispossession. Today, the relational fabric of Palestinian landscapes lies fractured — yet the soil remembers.
Through powerful storytelling, family history, and enduring friendship, this piece gathers what remains: the rustle of leaves under siege, the echo of footsteps in forbidden groves, the persistence of tenderness in a terrain marked by erasure. It traces how ecological and cultural memory endure despite spatial fragmentation and political violence.
Manja Ristić engages with sounds gathered from war-torn landscapes and towns across the former Yugoslavia, from WWII memorial sites to intoxicated rivers — bearing witness to how the land carries its wounds in silence, while the echoes of war still tremble through every pore of the heart.

Concept and direction: Anamaria Pravicencu
Storytelling by Christiane Dabdoub Nasser, with the support of Maya Nasser
Sound design and composition: Manja Ristić
Presentation text: Manja Ristić
Mixing: La Plant Studio, Belgrade
A production of SEMI SILENT and tranzit.ro/ Bucharest

Artis bios:

Anamaria Pravicencu is a sound artist based in Bucharest and founder of the platform SEMI SILENT (2016), dedicated to podcasting, sound art, radio art, and field recording. She also developed the SONIC FUTURE RESIDENCIES program (2018, 5 editions) to support mobility in contemporary sound art. In 2022–2024, she co-curated Sonic Narratives (Simultan) in Timișoara as part of the European Capital of Culture, and in 2024-2025, she co-curated Orizont Sonor (French Institute in Romania and SEMI SILENT). She is a founding member of CENSE – Central European Network for Sonic Ecologies.

Website/social links
https://semisilent.ro/
https://manjaristic.blogspot.com/
Radiophrenia Shorts 37A

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

1 Kateryna Ziabliuk - Spivanka (5:03)
2 Mathias Guilbaud – Roar (22:27)

1) Kateryna Ziabliuk - Spivanka

The piece was recorded live in 2025 in the legendary MONOM - one of the Funkhaus sound studios in Berlin. It is based on folk tunes from Ukrainian Transcarpathian region, that used to be the way of communication between highlanders working on the mountain fields. Together with one of the most unpredictable sound sources - audio feedback from no input mixer - and live sampling, the piece reassembles the mysticism, richness of the soundscape and the beauty (rather importance) of repetitiveness. There also was an unpredicted result of this experiment - at the certain point, the mixer started “catching” frequencies from samples, and its random glitches sounded like a parody on the melody of the flute.

Kateryna Ziabliuk is a Kyiv-born, Krakow-based sound artist, multi-instrumentalist and improviser educated at the music academies in Krakow, Kyiv and Milano. She performs across Europe with her band Hilarious Disasters and the all-female group O.N.E., and researches Ukrainian musical modernism, Ukrainian and Polish folk music, contemporary improvisation and electroacoustic techniques.
Katrù is her artistic identity, dedicated to reshaping Ukrainian folk music through free improvisation and experimental electronics. As an artist who has been educating across Europe and the USA, her work deeply reflects the experience of migration — balancing nostalgia, cultural preservation, and the constant process of assimilation.

https://linktr.ee/katruziabliuk
https://instagram.com/katrututu

2) Mathias Guilbaud – Roar

My city roars. Like yours, it is constantly changing, driven by silent, powerful forces. Beneath my feet, an invisible metro line cuts through ruins — neighborhoods, dead ends, streets. Construction sites, machines, bodies in motion. Clatter, tremors, textures: raw, living, untamed sounds. I walk with microphones, gathering these sounds not to freeze them, but to move through them — to hear what, amid the chaos, tries to speak differently. These noises become stories, presences that awaken a numb urban imagination. Reactivating it is a form of situated resistance, rooted in places, cracks, and transformation. By letting these often-dismissed sounds resonate, construction sites stop being mere breaches in the city and become breaths. Giving voice to places in transition, reclaiming through listening a power over what slips away.
Roar is a sound piece built entirely from field recordings produced by Semi Silent.

Mathias Guilbaud is a Toulouse-based sound artist working with field recordings and acousmatic composition. His work explores the sonic textures of urban transformation, the poetics of construction sites, and the intimate intersections between public spaces and personal narratives. Through his electroacoustic pieces, he seeks to awaken new ways of listening to cities in flux, revealing the hidden layers beneath everyday noise.

A multidisciplinary artist, Mathias collaborates with performing arts companies, community radios, and film projects.

https://mathiasguilbaud.fr/
@mathias.guilbaud
Radiophrenia Shorts 37B

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

1 Andrew Paine - (Tectonic) Notes For 3 Cassette Recorders (7:00)

2 Panayiotis Kokoras - Useless Box (11:00)

3 jonesy jones - woolf worldings - pomona (0:44)

4 BORȘ - Murmuration of crumbles (8:35)

5 Andre Perim/ Eye P - Life Insists (3:09)

1) Andrew Paine - (Tectonic) Notes For 3 Cassette Recorders

I recently found the notes I had been writing prior to my performance at Tectonics 2019.
I thought it might be interesting to record these notes ‘live’ into three vintage cassette recorders simultaneously. I had original mics for each of them but no real idea how effective they might be. In addition, I used vintage, second hand tape to make the recordings.
The results are (to my ears) very satisfying. Difference in quality and on-going degradation of recordings are clearly marked. No FX have been added, I’ve simply moved the vocal around a little, to make it more interesting.
The Tectonics performance itself, featured bowed guitar, morse code, SW Radio, Cassettes, iPod, & spoken word.
I have added the morse code from that performance to this recording.

Andrew Paine is a Glasgow based musician: his work ranging from solo voice, howling guitars, gentle piano interludes, radio, oblique electronics and wherever he likes in between.
He initially broke cover collaborating with Richard Youngs in their progressive rock group project Ilk. Following their second album “Canticle” (VHF, 2005), he became particularly prolific, releasing many collaborative albums with Youngs as well as several solo projects.
Current duties extend to ambient alter-ego ‘Lord Tobacco’ and duo, The Domestiques (w/ Kevin McCarvel); guitars in tune with the energies of 70s rock & Japanese psych and electronics akin to the 80’s industrial experimenters.

https://andrewpaine.bandcamp.com/
https://lordtobacco.bandcamp.com/

2) Panayiotis Kokoras - Useless Box

Useless Box appears as an ordinary wooden container whose resonant knocks unfold into an unpredictable sonic world. Drawing on the myth of Pandora’s Box, the piece reveals how the seemingly harmless can unleash chaos, oscillating between the mechanical and the organic, the playful and the ominous. Integrating performance, robotics, sound design, and theatricality, the work employs spectromorphological and transcontextual transformations to create a surreal drama. Quotations from Julius Fučík’s Entry of the Gladiators frame the piece, reinforcing irony and illusion. Beneath its playful surface, Useless Box explores uncertainty, paradox, and agency, transforming the box into a liminal space of sonic and philosophical tension.

Panayiotis Kokoras is an internationally acclaimed composer and computer music innovator, currently Regents Professor of Composition and Director of the Center for Experimental Music and Intermedia (CEMI) at the University of North Texas. His music treats sound as the sole structural element of form and is articulated through his concept of Holophonic Musical Texture, in which each independent sound contributes equally to the total. His work integrates electroacoustic composition, physical computing, robotics, spatial sound, and Music Information Retrieval–based strategies. Kokoras has received major international awards, commissions, and fellowships from institutions including the Guggenheim Foundation, the Fromm Foundation at Harvard, IRCAM,

https://www.facebook.com/pkokoras
https://www.instagram.com/panayiotiskokoras/
https://www.panayiotiskokoras.com/

3) jonesy jones - woolf worldings - Pomona

old memory
hits a ghost artery
sparking
a l c h e m y

This is the first dive in to the instinctive otherness of the expansive worldings of sounds.
This is a memory glitch switch making queer cacophony with the ghosts.
This is a Woolf swish fish in to the swirling abyss of ghost paths and archaic messagings.
This is river life, woolfing in the luminous dark, curious in the heart beat -
pulsing the deeps - trans-ing the cares - immersing in the kindnesses

of the non human world.
it seeks to be our P O M O N A

a fugitive in the sound world
an escape artist from the theatre world
sometimes up - sometimes down - mostly upside down
dancing - looping - listening
making - sometimes - faking
always d.i.y
in the radicals of resistances - deviances - protestas
seeking discoveries of new bellisimos queerissimos
for all our glory days

4) BORȘ - Murmuration of crumbles

am dizolvat, am lăsat să putrezească. look, it’s rotting! the myth, the foundation, the loop, the repeat, the on repeat, tot așa, tot-ș-aceeași, tot rot, autoritatea epistemică, exprimarea se screme. exprimere – to express, or rather squeeze out (of?). ne scremem. ne scremem să naștem murmurări noi. noi scremem noutăți express. ce mai e nou? this is where we express in the crumbles and murmurations of crumbles. crumble ‘til you forget how not to. murmur ‘til you forget words, to world. apoi uită din nou… remember to forget all over in fragments, smaller… smaller… that we can’t measure any longer. shorter… shorter… that we no longer store and hoarder. liquid, back to liquid, then vapour again, always in flight, escaping the lines, the rise, the wise men. but who can? [...]

Recordings, composition and mixing by Mădălina Ciocanu for SEMI SILENT
Co-produced by Simultan
SONIC FUTURE RESIDENCIES 2024

FB: https://www.facebook.com/madalina.ciocanu
IG: https://www.instagram.com/bors.beets/

5) Andre Perim/ Eye P - Life Insists

Two artists come together to share a reaffirmation of life in the face of difficulty. Art emerges as a means of resilience.

Andre Perim is a Brazilian musician, composer, and multimedia artist. Eye P is an Italian poet and spoken-word artist. Together, in 2025, they released the album Songs for Errors and Victory, which includes the track “Life Insists.”

https://linktr.ee/andreperim
https://linktr.ee/AntonellaEyePorcelluzzi
Gemma Jones

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

"We are in this together" is a 30-minute live broadcast exploring care based practices in the form of listening. This originates from the artist's experience of being read to which has become an everyday ritual in the management of chronic pain. I propose to read aloud a series of chosen texts regarding performance, landscape and chronic Illness to honor a shared space of radical tenderness and reflection. Navarro, Eduardo “Riverbed Meditation”. Meandering Art, Ecology and Metaphysics Ruwona, Natasha Thembiso. “What is held between waters”. Institute of Postnatural studies, Compost Reader 2 Neimanis, Astrida. “Hydrofeminism: Or, On Becoming a Body of Water.” Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice Halprin, Anna. ”The Body as a Healer”, Returning to health with Dance Movement and Imagery Halprin, Anna.”Nature as Healer Part 2 The Use of Visualization”, Returning to Health with Dance Movement and Imagery Artist bio: I am a Glasgow-based visual artist working at the intersection of Disability Justice, Somatics, Embodiment, and Landscape. My work combines performance, drawing, writing and sound to explore new languages and or possibilities of the body. I create performances that are not rehearsed where I use my time before to research extensively, draw, write and gather images with a plan to respond to the live present moment. Documenting performance continues to excite me where I find drawing, writing and sound interesting tools to transform the ephemeral nature of live performance into a new form with the same magic. Website/social links Website: gemmajonesperformance.cargo.site Instagram: @gemmajonesperformance
Buffer Zone

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

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Ģenerāļa Baloža iela (1:55)
2) Gareth John and Laura Tansley - This morning an anticlimactic (8:03)
3) ri - you must have asked for it (4:36)

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Ģenerāļa Baloža iela

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

2) Gareth John and Laura Tansley - This morning an anticlimactic

A poetic sound piece exploring anxiety and parenting.

Artist bio: Gareth John and Laura Tansley have been combining their words and music for several years now having first met at university in Cardiff. Gareth lives in London, Laura lives in Glasgow.

3) ri - you must have asked for it

Trigger warning: This audio contains discussions of emotional and psychological abuse, abusive relationships, and the process of leaving an abusive partner. It includes voice messages addressed to the perpetrator that may contain distressing or emotionally intense material. Please take care while listening and pause or stop if needed.

Freeing oneself from an abusive partner is not linear. this audio stems from the desire to hear the perspective of someone who is in the process of breaking free from a relationship with an abusive person and is going through various emotional phases. what you will hear are voice messages that were sent to the perpetrator.

Artist bio: radio and theatre maker. loves impro, clown*ing, the absurd and grotesque. supporting and organizing self-help groups for those affected of sexual violence. living with three kids, complex ptsd and neurodivergences. at the moment working with a friend on a theatre piece about rape myths.
Vanessa Rossetto - A Face For Radio

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

An exploration of ideas of attractiveness via an actual radio broadcast in the form of a fake radio broadcast

Cast:
Neil: Vanessa Rossetto
Gloria: Matthew Revert
Rivka: Amy Johnson
with
Christina the Turkey as Herself

'A Face For Radio' is a co-commission between Radiophrenia and Kunstradio produced with the support of Creative Scotland.

Biography:

Vanessa Rossetto is an American composer and chipper-shredder, processing whatever sounds cross her path into sprawling, long-form narratives. Trained as a painter, Rossetto began working with sound in 2007 as a way to incorporate the element of time into her work. If you have met her, she probably recorded you.

http://www.musicappreciationrecs.com/
https://vanessarossetto.bandcamp.com/
Louisa Fairclough - The world went out of tune with itself

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

The sound piece draws from a written testimony in which I have endeavoured to convey the distinct logic of my thought processes and the associations I was making during a lengthy psychosis. The monologue is non-chronological and echoes my fragmented memories. My spoken voice overlays a digital soundtrack in which I have woven together vocal pieces and music that I made on my computer whilst experiencing mental distress: an archive of that time. Artist bio: ‘The world went out of tune with itself’ is part of a wider auto-ethnographic project exploring Louisa Fairclough’s lived experience of psychosis funded by an Arts Council England DYCP award, and will be performed at Figments: Madness, Health & Creativity conference at University of Glasgow, June 2026. Louisa’s solo show, Mental Falls, was at Danielle Arnaud Gallery (2024) and MIRROR Arts University Plymouth (2025). To coincide with Mental Health Awareness Week, Louisa curated Welcome to my World, a weekend programme of artists' screenings, performances and talks at the Arnolfini in Bristol in May 2025. Louisa is co-founder of BEEF (Bristol Experimental & Expanded Film). Website/social links www.louisafairclough.co.uk
Radiophrenia Shorts 21A

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

1 Laura Romero Valldecabres - Hidden Speakers (4:42)

2 Son Hanson - The Signal (2:44)
3 Luba Diduch - Angels' Voices in Pine Needles (1:52)
4 Cristian Fierbințeanu – Total (22:13)

1) Laura Romero Valldecabres - Hidden Speakers

“Tsugi wa” (Japanese for “the next one”) is a reflective soundscape inspired by the artist’s journey through Japan’s vast railway networks. Moving from station to station, she encounters “hidden speakers,” a word that resonates as both loudspeakers and disembodied voices. These "acousmatic" announcements (relentless directions, train schedules, simulated birdsong guiding passengers to platforms and exits) form an omnipresent sonic architecture designed to assist navigation, including for the visually impaired. Amid this constant flow of information, the artist contemplates her own life path, asking, “What’s next?” The phrase "tsugi wa" becomes both practical instruction and existential question. The walk culminates at a "suikinkutsu" in Kyoto, where resonant drops of water evoke intimacy and presence, contrasting with the mechanical mediation of recorded sound. Suspended between natural acoustics and technological voices, the work explores displacement, time, and the search for orientation.
Headphones are recommended for full immersion.

Laura Romero is a freelance audio artist and researcher from Spain. She creates audio design and storytelling projects for radio, podcasts, and sound installations. Her work intertwines bioacoustics, cultural heritage, orality, soundscapes, and poetry, with a strong commitment to preserving memory across diverse territories. She has received First Prize at the Grand Prix Nova International Radio Drama Festival (2021), UK International Audio Drama (2022), and the Bronze Award for Best Documentary at Prix Marulic (2023). Holding a PhD in Communication and Sound Studies, she works across artistic and academic contexts and regularly organizes public listening sessions in Iberian Peninsula.

http://www.laura-romero.com
https://www.instagram.com/lauraromerovall
https://www.facebook.com/laurahum
https://vimeo.com/lauraromerovall

2) Son Hanson - The Signal

The Signal is a found recording of a shortwave radio broadcast. It initially appears to be an experimental guided meditation that transmits subtle electromagnetic tones intended to ''awaken the inner child'', but as the tape circulates, listeners have reported unsettling experiences that linger beyond the act of listening.

This piece draws on Michael Persinger's ''God Helmet'' experiments, which used weak electromagnetic fields to alter perception and induce the sensation of another presence, as well as the occult history of Electronic Voice Phenomena (EVP), often associated with radio transmission and the belief that the voices of the deceased can surface through electronic media.

This Signal blurs the boundary between signal and spirit, leaving it uncertain whether the voices emerge from the mind, the medium, or something beyond.

Son Hanson is a documentarian based in Montreal. Her work explores space, liminality, and the fluid boundaries between self and environment.

3) Luba Diduch - Angels' Voices in Pine Needles

This recording was made in two phases. My intention was to explore relationships between drawing and audio recording. 'Angels' Voices in Pine Needles' was composed using scanned drawings that I had made using pine needles as drawing instruments. I experimented with changes in pitch and duration in an audio program when I converted the drawings into audio tracks. A few happy accidents occurred when working on this project. Through experimentation, I discovered that adjusting different levels and pitches revealed angelic and otherworldly sounds. Eerily, the 'angel' sounds seemed to echo through the scanned pine needle shapes as though they were singing and taking breaths between notes.

My art practice explores notions of responsiveness that evolve within expanding and transforming architectonic schemes in and around artworks. These expansions are reflected in my collaborations with audiences as well as in my own responses and perspectives. Individual and participatory projects that explore the ways in which environments such as the world’s forests can be seen as creatively productive spaces. This is of particular interest in my practice as an artist who often works in the wilderness of Alberta as well other locations in Canada. My ongoing projects involve the creation of sonic recordings and compositions, drawings, and interactive digital

https://www.instagram.com/lubartist/

4) Cristian Fierbințeanu – Total

This composition was created by Cristian Fierbințeanu in the frame of SONIC SPORTS, a project produced by SEMI SILENT in 2024 (unreleased)

SONIC SPORTS invited sound artists into new territories of exploration involving field research, dialog with athletes and support teams, field recording, as well as intimate or fictional writing, for a series of sound and radio art pieces. Presented in listening sessions of authored works, a national open call and a vocal expression workshop followed by a performance, the project proposes a sensitive reading of the role of sport in our lives and the intimate relationships we create with our bodies and the communities involved, from the very close-up, a breath or heartbeat away, through the perspective of the spectator in the stands or the football of children behind the block, through memories, histories and personal recollections.

Cristian Fierbinteanu is an independent artist, member of art-pop group Fierbinteanu, active in music, sound & video art. As part of Fierbinteanu, he has performed on European scenes, including Berlin Konzerthaus, and released records via independent labels. The works of Fierbinteanu have been presented and awarded in international festivals: RVK Fringe Fest (Reykjavik - Iceland 2021), Seasoning Spring (United Cowboys/Eindhoven 2021), Phonurgia Nova (Paris 2020), Grand Prix Nova (Bucharest 2020), Nuit de la fiction sonore à Arles (France 2019), Arts and Science days (St. Etienne/France 2019), 60 Seconds Radio (Canada 2019), Dvorak Marathon (Berlin Konzerthaus), Dvorak remix (The Czech [...]

http://www.fierbinteanu.com/
https://fierbinteanu.bandcamp.com/
https://soundcloud.com/fierbinteanu
https://www.youtube.com/@fierbinteanumusic
https://www.facebook.com/cristian.fierbinteanu/
https://www.instagram.com/fierbinteanu.music/
Radiophrenia Shorts 21B

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

1 Nat Grant - Folding - Permanent Ordinary (2:20)
2 Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land) - Identidad / Identity (5:04)
3 Angela Moreno Cascante / altera - Invocación a la lluvia (Calling the rain) (22:32)

1) Nat Grant - Folding - Permanent Ordinary

Folding generates environments that both nurture and delineate smaller folds within them, akin to nesting dolls.
Folding represents the convergence of layers, the bending and intertwining of forms that give rise to new dimensions of existence. It embodies the fluidity of change, the inherent beauty found in the folding of time, space, and perception.
What was once flat and constrained now expands and flourishes. This form of folding doesn't signify resignation, but rather embodies a transformative process, embracing change and growth.
There is wonder in contemplation, and this work explores the possibilities that emerge when we embrace the nonlinear nature of existence.

Dr. Nat Grant is a composer and sound artist working on unceded Wurundjeri country, producing works for live performance, recording and broadcast, digital arts, and community arts. Nat’s work focuses on the creation of multidisciplinary and longform musical compositions, performance events, and installations using traditional and graphic notation as well as improvisation.
natgrantmusic.com
@natgrantmusic

2) Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land) - Identidad / Identity

(poem by Agata Navalon - Spain)

Barbara Dang (France) plays prepared piano. Borja Flames (Spain) speaks/sings and plays electronics.
We have composed this pieces together, and they are part of a 9 tracks album recorded in june 2025, not yet released.

This collection of pieces go under the name SOY TIERRA (I am earth / I am land), and are based on contemporary latin-american and spanish poems. The poems explore the relationship between the body and its environment and society, ranging from metaphysical introspection to earthly and cosmic thought, and narratives of interpersonal relationships, love, and desire—the driving forces of life and purpose.

Spanish composer and singer Borja Flames lives in Normandy, France. Has published several solo albums, and collaborated with Marion Cousin, John Greaves, Areski Belkhacem and many others. Pianist, composer, and improviser Barbara Dang lives in Lille, France. Has worked with Sophie Agnel, Ensemble Dedalus, Tom Johnson, Radu Malfatti, Michael Pisaro, Halory Goerger, David Boinnard. They both tour often in France and Europe, together, solo, or with their different projects. More info in the website below.

https://www.muraillesmusic.com/artistes/borja-flames-barbara-dang-soy-tierra/

3) Angela Moreno Cascante / altera - Invocación a la lluvia (Calling the rain)

Three friends wander along Quebrada La Vieja while invoking the elemental forces for rain to come back to Bogotá and fresh water flows over its land again.

Angela Moreno Cascante is a Colombian sound artist and filmmaker. She is interested in experimental research creations processes related to live arts. Her work gathers art, technology and ecology from conceptual and sensory approaches. At the momento, Angela is distributing Entrada al bosquE, a performative sound installation which explores an interspecies relationship with Oyster mushrooms through contemplation, care and nourishment.

https://www.instagram.com/altera_nm/
https://www.instagram.com/entradaalbosque/
Lost in Transmission 3 - Johanna Linsley

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

A live performance for Lost in Transmission, Steps Theatre, Dundee, 24th February, 2026, curated by dundee radio club. A Radiophrenia/dundee radio club event produced with the support of Creative Scotland.

Johanna Linsley is an artist, writer and producer. Her work is iterative, research-based and focused on performance. It often results in projects with multiple versions or outcomes. Current interests include documentation, procedure, listening (especially eavesdropping), queer domesticity, collaboration, and formations of the public. An interest in the speculative and fantastical underlies this work.

Johanna is part of the London-based live art team I’m With You, which investigates queerness, domesticity, private life and public space. She is also a founding partner of UnionDocs, a centre for documentary art in Brooklyn, New York. Johanna is a researcher on the Wellcome Trust-funded project ‘Challenging Archives’ at the Theatre Collection Live Art Archives at the University of Bristol.

https://www.jhlinsley.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.
Sonia Levy and Lucy A. Sames - Dark, Sloshing

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

'Dark, Sloshing' is an audio work by Sonia Levy and Lucy A. Sames created in response to the heavily industrialised and neglected riparian worlds of Silverthorne Lane in East Bristol.

The composition weaves field recordings and voice, moving above and below water as it follows canals, bridges, electric grids, train lines, and highways. It reveals muted ecologies that interrogate the altered dynamics of earthly and urban processes, reflecting the city’s imperial, infrastructural, and ecological entanglements. Commissioned by Gingko Projects, 'Dark, Sloshing' forms part of a larger project led by artists Rachael Champion and Jonathan Trayte.

Artist bios:

Sonia Levy is an artist filmmaker with a Berber-Polish background. Her work, marked by site-specific and interdisciplinary inquiries, delves into the implications of Western expansionist and extractive logics, exploring how these forces manifest in the transformation and governance of hydrosocial worlds.

Lucy A. Sames is a curator, writer, and researcher based in rural South Wales. Her research proposes a feminist, queer and posthuman concept of ‘excess’ modulated by the materiality and metaphor of the liquid, to develop disruptive, embodied, queer, collective practice.

Website/social links

https://sonialevy.net/
https://www.lucyasames.com/

https://www.instagram.com/sonia__levy/
https://www.instagram.com/lucyasames/
EAPS 2 - Accumulation

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

EAPS is a collective of six sound poets that respond to a prompt to create works that are gathered into a program. Prompt: Accumulation.

Poets:
Marjorie Van Halteren, Northern France
Joan Schuman, Northern California
Tony Brewer, Indiana
Ilaria Boffa with Marco Lucchi, Italy
Gregory Whitehead, Massachussets
Brian Price, with Eleanor Price, Indiana

Artist bio:

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

Website/social links http://www.electroacousticalpeoticalsociety.com
Radiophrenia Shorts 62

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

1 Emanuele Costantini - The train rolls south in pitch black darkness and I forgot to shut a window back home (20:04)
2 williwaw - And still the drone of the bus (11:25)
3 Christian Rosales Fonseca - AKEI (15:46)

4 Andrew B - Nanjing Dong Lu 87.5 MHz (5:36)
5 cecilia moodz - Una ciudad (3:09)
6 Coims – FONNEL (1:38)

1) Emanuele Costantini - The train rolls south in pitch black darkness and I forgot to shut a window back home

The dense city streets unwind through unmanageable traffic, street vendors and stallholders, workers slipping through cars on their scooters, office employees wedged into dust orange buses in stale sweat, not far from small artisan shops, markets, and poultry. Distances are taken through temples submerged by tourists in frantic meditative activity, then slipping out into chaotic countryside of motorcycles and insects in chorus.
Night sounds like a stone.
Galloping rain, slimy, slapping with swarming waves
Time to return.

Emanuele Costantini is a Director, Photographer, Sound Designer, and Producer of sound-based films and art installations, Involved in a wide area of media sound and industry, born in Florence (Italy), and British naturalised, living in London (UK ). His first attempt in production became the award-winning documentary “GRA: Graffiti Roman Art” followed by few immersive installations, broadcasted on sound art radio shows (Framework, BBC3 Late Junction) and events such as Design Week in Bangkok, to name one. He keeps lending his sound skills to the film industry, getting involved in documentaries, commercials, and films while progressing with other productions.

http://www.ecsound.net

2) williwaw - And still the drone of the bus

There is a particular sense of doom in riding the bus. Will it ever get there? Will we ever get there? Where is there? There has been scant reflection on the geo-existential dread of bus riding, save for a poem by suffragette V. H. Friedlaender from 1922, Bus Ride In A Fog:

"...And still the drone of the bus,
Like a coma, a swoon, a drug..."

Here, through some archaic mathematical processes and mistakes, we let the bus speak and swoon. We hear the fog.

williwaw routinely explores the aesthetics of technological failure through the medium of heavily amplified ’ukulele.

http://www.donkeyscratch.com

3) Christian Rosales Fonseca - AKEI

In Akei, I bring together two distinct yet interwoven sonic worlds. The work begins with recordings I made from a historical phonograph from the early twentieth century. I spent several hours with the device, exploring its mechanics, experimenting with different playback speeds, and closely listening to the specific sounds produced in the processes of recording and reproduction. I did not treat these so called “noises” as interference, but as sonic traces of the technical and colonial practices through which voices and songs were once transferred into European archives.
I place these sounds in dialogue with recordings I made in close collaboration with the Kággaba community in the Sierra Nevada de Gonawindúa, Colombia. Recorded in the sacred territory, they reveal unexpected resonances with the phonograph’s rotating textures.
Through Akei, I explore the friction between colonial regimes of preservation and a territory in which sound remains relational and alive.

Christian Rosales Fonseca (1993, Bogotá, Colombia) is a composer, improviser, and electric guitar performer based in Bremen, Germany. His artistic practice is situated at the intersection of contemporary composition, free improvisation, and transdisciplinary artistic research, with a strong emphasis on political, social, and decolonial perspectives. He is currently a PhD candidate in the binational Artistic Research Program between the University of the Arts Bremen and the University of Groningen. His doctoral research examines Indigenous sound ontologies and colonial phonographic archives, focusing on early twentieth-century recordings of the Kággaba community and the cultural practice of "pagamento".

https://crofon.com/
https://crofon.bandcamp.com
Instagram: @crofon

4) Andrew B - Nanjing Dong Lu 87.5 MHz

Andrew is a Canadian electronic musician living in China who integrates chaotic, analog circuits to create unpredictable performances.

This piece uses radio as both a source of audio and control signals. Captured opportunistically in Shanghai on the Nanjing Dong Lu walking street, the recording documents the live interaction between radio signal, performer, and chaotic electronic circuits. The radio signal is the basis of the sounds used, and is also slowed down through frequency dividing circuits to serve as control signals for other parts of the audio processing chain. Every moment reflects the performer's response to the signal being received in an attempt to shape it into a sound event.

5) cecilia moodz - Una ciudad

Una ciudad is a three-minute piece that proposes an immersive sonic experience where space becomes territory. Using recognizable sounds without electronic processing — raw, direct, and without effects — the work builds a moving sonic architecture.

Spatialization is the central element, but not just technicque, the sensation: sounds do not simply happen, they inhabit, circulate, and move, like bodies inside a living city. Each sound keeps its identity, allowing the listener to orient themselves within this sonic landscape, and at the same time, to get lost in it.

Rather than describing a specific city, the piece suggests the idea of a city as an organism: layers, paths, encounters, and distances revealed through listening. Una ciudad does not represent a place; it activates it

I am a transdisciplinary artist and researcher whose work moves between sound, image, and writing. My practice takes a sensitive approach to memory, space, and time, focusing on processes of resonance, forgetting, tenderness, and error as creative forces. I am currently pursuing a Master’s degree in Documentary Film, where I continue to explore the relationship between listening, image-making, and narrative as forms of inquiry and artistic research.

https://soundcloud.com/cecilia-moodz
https://vimeo.com/ceciliamooodz

6) Coims – FONNEL

FONNEL WAS PERFORMED AND RECORD LIVE WITH BOTH PERFORMERS LISTENING VIA HEADPHONES TO TWO DIFFERENT RADIO STATIONS SIMULTANEOUSLY. THE OUTCOME CAPTURING UNIQUE FEEL AND CHOATIC VIBE.

Coims are an experimental sound duo, often using modern percussion and fretted instruments to create primitive sonic freedom.

https://coims.bandcamp.com/
https://www.instagram.com/coims_sound/
Kate Donovan - Portal

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

One of the world's largest collections of wax cylinder audio recordings resides in Berlin, at the much contested space of the Humboldt Forum. The sounds are held there in a state of stasis, while machines work to control the climate of the room, keeping the temperature and humidity stable. This live audio transmission is a way to create a kind of portal, allowing an institutional space that houses dormant recordings to disperse out of the walls and onto the airwaves, or perhaps rather to allow listeners inside these walls from afar.

This is part of a larger project supported by the 4A_Lab in Berlin (Kunsthistorisches Institut in Florenz – Max-Planck-Institut | Stiftung Preußischer Kulturbesitz) that proposes transmission-from-archive as a form of critical practice that makes institutional thresholds porous without reproducing the collections that they hold, thus positioning radio as a means of thinking through the ambivalences of archival holdings.

Artist bio:

Kate Donovan is an artist and researcher based in Berlin working on and with radio, listening, ecological thinking, and the more-than-human. Much of her practice is together with others and circles around knowledge exchange and experimentation. She was part of the research group SENSING: the Knowledge of Sensitive Media (Potsdam), with a PhD project on "Radio as Relation", and is a fellow of the 4A_Lab Berlin, Institute for Art History, Florence - Max-Planck-Institut. She is also the co-founder of Radio Otherwise, an artistic research project motivated by the many knots which art, knowledge-making/sharing and communication encounter.

Website/social links

mattersoftransmission.net
https://www.instagram.com/mattersoftransmission/
https://www.khi.fi.it/en/forschung/4a-laboratory/2025-26/donovan-kate.php
Buffer Zone

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

1) Félicia Atkinson - Shirley to Shirley (4:14)
2) Katalin Ladik - Three Orphans (13:25)
3) Tony Morris – Can You Think (1:00)

1) Félicia Atkinson - Shirley to Shirley

From the album 'The Flower And The Vessel '

2) Katalin Ladik - Three Orphans

From the album 'Water Angels' .

This work juxtaposes Ladik’s electronically modified voice with wax cylinder phonograph recordings of Hungarian folk songs made in Transylvania during 1940, creating an astounding duet between past notions of culture and song, and the most forward thinking, avant-garde conception of what such a thing might be, with the artist’s screams, whispers, chants, laughter, giggles, and singing blurring time and creative boundaries in a single go.

3) Tony Morris – Can You Think

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/
YoshimiO - Gutta ta Aaata（グッタタアアアータ）

9 September 2026 6:00 pm - 6:40 pm

I love spending time at home. For nearly 10 years now, right in front of our house has been a forest of evergreen broad-leaved trees in the satoyama. I can observe the lives of creatures other than humans there. During the rainy season, moss clogged our gutters, and the sound of raindrops falling through them began to create an unpredictable rhythm. I played the electric piano in my room while listening to the rhythm of the raindrops. My family recorded it on Zoom. When the “Higurashi” cicadas start chirping, the rainy season ends. It’s always like that. Collecting the sounds of my home and jamming with them soothes my sound-filled mind. The snoring of a friend who sleeps well at our house sounds like a didgeridoo player offering a prayer for a good night’s sleep. There are moments like my solo performance at YoshimiO at Shiso-kan, a place dear to us. And sometimes I go to a studio with people I trust and pour out my desire to bring all these sounds together. I love singing while channeling my breath through a flute—sometimes a KHEAN, sometimes an ARGOZA.

わたしたちの家で過ごすことが好きです。もう10年ちかく家の目の前には里山における照葉樹林の森があります。人以外の生き物の暮らしを観察することもできます。梅雨のあいだ、家の雨どいに苔がつまり、雨どいを通って落ちる雨垂れ音は予測のつかないリズムを刻みだしました。うちの雨垂れビートを聴きながら部屋の中でエレピを弾きました。家のひとはZOOMで記録しました。ひぐらしが鳴き始めると梅雨はおわります。いつもそう。家の音の収集とその音たちとのセッションは音にあふれたわたしの脳を癒します。うちでよく寝れた友人のいびきは良き睡眠がとれますようにと祈りのディジリドゥー奏者のようです。わたしたちの大事な場所、四三館でのYoshimiO solo演奏など。そしてときどき気の知れたスタジオにいき、それらをまとめたいという想いを吐き出します。わたしはわたしの呼吸を笛に通しながら歌うことが好きです。ときには KHEANに、ときにはARGOZAに。

YoshimiO _ Voice, Ereki Bass Tanpura, Keyboard Synthesizer, Electric Piano, Effects, Khean, Argoza, Minmin, Percussion
HAMA _ Reyong, Gangza
Kawamura Kohey-Sai _ Gangza
Engineered by Kabamix
Sound collected by Ooido Syoujou
mixed by YoshimiO
big thanks to shisokan ”四三館”

A Radiophrenia commission produced with the support of Creative Scotland.

THE VOICE FALLING UPON REYONG (5’22)
GANGZA PASSED BY (5’25)
A BIG MARIMBA CARRIED BY. (3’45)
THE HOUSE OF HIGURASHI. (5’27)
THE SHISOKAN. (3’40)
INORIBIKI (1’28)
ALONG WITH THE RAINDROPS_#1. (3’22)
ALONG WITH THE RAINDROPS_#2. (4’48)
ALONG WITH THE RAINDROPS_#3. (2’53)
ARGOZA GLIDES TO THE RAINDROP BEAT (3’06)

https://shochy.bandcamp.com/
https://www.instagram.com/emeraldragonfly/?hl=en
Marco Ferrazza - Medeterranea

9 September 2026 6:40 pm - 7:00 pm

Medeterranea is a narration in sonic images of a journey through memories. From the macroscopic to the minute, between density and rarefaction, between the clarity of the soundscape and the analytical nature of micro-editing.

The piece is the result of research and a residency at the Groupe de Musique Expérimentale de Marseille (GMEM) in 2024.

Artist bio:

M.F. is an Italian musician, performer and composer working in the field of electroacoustic music. His acousmatic and audiovisual works have been featured at festivals across Europe and internationally. His practice engages with musique concrète for fixed media, exploring sound objects in their material and perceptual dimensions, in search of a language shaped by clarity, reduction, and structural precision.

Website/social links https://www.marcoferrazza.com/
Radiophrenia Shorts 52A

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

1 Sofía Matus Cancino – Saturno (7:00)

2 Melanie Sevcenko - Listen (2:21)

3 Susanne Skog – Kontinenten (10:45)

4 Stephane Borrel - La Grenouille de Lycie (The Frog From Lycia) (5:17)

5 Moniek Darge – MaltaSoundies (7:20)

1) Sofía Matus Cancino – Saturno

Saturno is an acousmatic work inspired by Francisco de Goya's painting "Saturno devorando a
su hijo". Using algorithmic composition, the sounds are presented and deconstructed by their original
signal.

Sofía Matus Cancino is a Mexican artist based in Phoenix, Arizona, exploring the convergences of visual music, embodied sound, and algorithmic composition. Her work proposes environments shaped by the ominous, the intimate, and the displacements of contemporary life. Her work has been featured at SEAMUS, ARS Electronica, Visiones Sonoras, PRISMS, SPLICE, among others, and performed by ensembles including Bent Frequency, ACME, and the Low Frequency Trio. Matus has received awards in Data Sonification, Composition, and Artistic Career Achievement. She is currently developing her first EP under the Jóvenes Creadores Fellowship from Mexico’s National Fund for Culture and the Arts (FONCA).

https://www.sofiamatusc.com/
https://www.instagram.com/sofia.matus

2) Melanie Sevcenko - Listen

"Listen" is part of a larger literary audio project called "Educated Ear." Currently a work-in-progress, "Educated Ear" is my second poetry collection which contains five chapters – Listen, Field Recordings, Production, Mixing & Mastering, and Performance – with the 60-plus poems categorized into each section. The overarching themes of the collection include memory, archiving, recording, interpreting beauty, and the art of listening. Accompanying the collection is a "playlist" that includes ten of the poems produced as pieces of sound art, which will then become an interactive sound installation. "Listen" is a work of sound art produced from the first poem of the collection (also called "Listen"), which includes "instructions" on how to tune into the world around you.

Melanie Sevcenko is an audio editor & producer, reporter, writer, and sound artist. Based in Portland, OR, she currently edits and produces Live Wire, a nationally-syndicated public radio variety program from PRX. She's also reported for numerous outlets, including The Guardian, American Public Media, NPR, BBC World Service, CBC, and Deutsche Welle, among others. As a poet, her debut collection "I Still Go to Bed with Water" was published by Unsolicited Press in 2022. She's also the recipient of a Portland Arts Project Grant and has attended several artist residencies in the Pacific Northwest.

https://www.msevcenko.com/
https://www.instagram.com/melaniesevcenko/

3) Susanne Skog – Kontinenten

There was a continent. This is the sound of its absence.

There is a hole in this sonic texture. The contour of the hole follows the coastline of a fictitious continent. The form of this silent negativity shapes the gestures in this piece.

Susanne Skog (Sweden) works with sound art, composition, and text, drawing on experimental radio, radio drama, documentary practices, and narrative art forms. Her sonic works are built from field recordings gathered around the world and transformed into spatial, immersive compositions that explore friction, resonance, and perception.
She is also an arts journalist and editor at Nutida musik and a teacher at the Electronic Music Studio (EMS) in Stockholm. She co-runs the project halffloor and is also part of the team behind the digital platform radioart.se.
Her work has been presented internationally at festivals, art spaces, and in radio contexts.

susanneskog.se

4) Stephane Borrel - La Grenouille de Lycie (The Frog From Lycia)

For example, it would be The Smiling Spider by Odilon Redon (Musée d'Orsay, Paris) or The Cyclops Polyp (National Gallery of Art, Washington): works which, from simple and realistic elements, make the strange or bizarre emerge – but without mockery, without sensationalism, without trying to be frightening; a kind of imaginary, “fantastic” animality, in the romantic sense of the term.
In a somewhat similar way, La Grenouille de Lycie (The Frog of Lycia) takes advantage of a young woman's rather peculiar laughter to give it a curious turn, and imply that the grainy and staccato squeak of the voice would be a croak. The title, a nod to a myth taken from Ovid’s Metamorphoses, thus suggests that the character would be both woman and frog.
In the coda, one hears an authentic pelophylax ridibundus (“laughing frog”).

Stéphane Borrel lives and works in Lyon, France. He writes for different ensembles and diverse electronics, ranging from chamber music (Facétie, Extinction, Toutes choses ont leur saison) to the symphony orchestra (Faits de masque, Main-d’oeuvre), from mixed music (Orée, Prospectus in musica, Toute la mer) to sound installations (Smartland-Divertimento, Bascules) or acousmatic pieces (the Laughing Tonalities cycle). He was the prize-winner of the Phonurgia Nova scholarship in 2009, Hervé Dugardin Prize of the SACEM in 2013, and ULJUS electroacoustic composition competition 2024 (Smederevo, Serbie). He teaches composition at Conservatoire de Lyon (C.R.R. de Lyon).

https://www.stephaneborrel.fr
https://www.instagram.com/stephaneborrelmus/

5) Moniek Darge – MaltaSoundies

The island of Malta, surrounded by the Mediterranean Sea, is extremely vulnerable to climate change. This threat is depicted in the soundscape MaltaSoundies realized in 2025.

Moniek Darge Moniek Darge is active as composer, violinist, performer and audio artist. She has built light- and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. Darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. Since 1970 she has performed around the world and has been active on stage, first with the Logos Ensemble, then with Logos Duo, and the M&M robot ensemble. She also founded Logos Women Ensemble.

https://www.logosfoundation.org/index-mon.html
Radiophrenia Shorts 52B

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

6 Ben Gaunt - Artillery of Nonsense (6:02)

7 Matilde Meireles - Two (Another Way) (7:00)
8 Jai Martone - The Bells of Cappuccini (7:06)

9 Bowen Wu – Scotory (6:09)

6) Ben Gaunt - Artillery of Nonsense

This piece is dedicated to my friend Rob Bentall, who describes my chaotic and bizarre sense of humour as an “artillery of nonsense.” We both work at Leeds Conservatoire and, as a result, he has often stayed over at my place. I have developed a habit of waking him with a deliberately awful playlist (Ben Gaunt’s Horror Show Chill Vibes 3000) a ritual I find far funnier than he does.
The piece draws on heavily processed fragments from that playlist, combined with a selection of unusual recordings I made over the previous two years, alongside a number of private references to my friendship with Rob.

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/

7) Matilde Meireles - Two (Another Way)

Two (another way) is an improvisation built from loops I made of water movements and raw electromagnetic pulses, recorded with a VLF Antenna and electromagnetic sensor. These were transformed into drones, rhythmic pulses, and imagined animal calls. 

It's the lead single from Four Tales, my new album coming out on 10 March. Two (another way) emerged from listening sessions I created for DRIFT, a collaborative floating architectural installation along Belfast's River Lagan that fostered new perspectives on city-river connections during summers 2024 and 2025. DRIFT was commissioned by Belfast City Council and brought together OGU Architects, MMAS Architects, and myself.

https://matildemeireles.com
@mtld_meireles (instagram)

8) Jai Martone - The Bells of Cappuccini

'The Bells of Cappuccini' is a soundscape composition constructed entirely from found sounds recorded in the composer's ancestral village in Campania, Italy.
The titular bells are recorded at the village's historic Cappuccin monastery, located on a hill and immersed in its own citrus tree orchard, which dates back to the Renaissance. The piece takes its listeners on a journey through time, from the sibylline medieval settlement, to the sepia-toned scenery of the 20th Century, through to the bustling modern-day Italian kitchen - the nucleus of the family home. The sounds explore the sonic transformation that the natural landscape has experienced over generations of human activity, with evolution and change being constant. However, one thing is always certain - the seemingly omniscient bells of Cappuccini are ever present.

Jai Martone is an emerging composer of Italian descent based in Cardiff, Wales, currently studying Composition & Creative Music Technology at the Royal Welsh College of Music & Drama. With a particular interest in sound art being a vessel for narrative storytelling, their music is frequently direct, unapologetic, ambitious and emotional, with references to their Neapolitan heritage often evident across their work. Their versatility spans soundscape composition, acousmatic music, electronic music using spoken word, and plunderphonics - a recent example being a work entirely from samples from the FX comedy horror series 'What We Do in the Shadows'.

https://sites.google.com/view/jaimartone/links-contact

9) Bowen Wu – Scotory

This radio work re-composes three recordings from the National Library of Scotland sound archive: a spoken broadcast (“BBC Town and Country VHF Area”), church bells (“Magnus Bells”), and fire engine bells (“Old Leith”).

As a foreigner living in Scotland, my relationship to this history is mediated entirely through recordings, documents and stories rather than lived experience. The archive becomes a place I can only access by listening. The bells function as temporal signals, while the broadcast voice appears as a distant authority, guiding the listener through fragments of place.

Through layering and displacement, the work constructs a speculative memory — an imagined Scotland assembled from transmission, repetition and acoustic traces rather than direct memory.

Wu is a composer based in Glasgow. His practice explores sound art, electroacoustic composition, moving image and live electronics, often working with archival material, spatial listening and custom-built systems. His work has been presented internationally at festivals and exhibitions including ArteScienza, GLEAM Festival and the NLS Festival of Broadcast, as well as at conferences such as ICMC. He previously worked as a keyboardist and music director in live music contexts before moving toward experimental and research-based practices. Wu holds an MSc in Composition from the University of Edinburgh and is currently a PhD researcher at the University of Glasgow.

https://bowenwu.uwu.ai/#
Kunstradio 3: Claire Serres - Grotte song or the underground voices

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

Broadcast: September 18th, 2022, Kunstradio

With the voices by Gérard Gorsse, François Villeneuve, Sandra Laborier, Delphine Dora, Esther Haller, Natalie Rubchenko, Necef Mengüverdi, Carlos Entringer, Rebecca Bremin, Daniel Pantaleoni, Sara Steinmoen, Odile Jacquot, Cécile Babiole, Gaëlle Coëffeur, Alice Quérel, Caroline Tricotelle, Corinne Castel, Marion Lacas, Véronique Guillien, Malika Lahcen.

Grotte song or the underground voices is a underground crossing, sung and sounded a cappella by a women's choir. The piece is inspired by medieval chansons de geste, between fable and sung poem, it tells the cave legend. The voices constitute the subterranean landscape, like the interior of an immense, vibrating and humid body.

Guttural, bony, blown and shouted voices inhabit this fantasized place, at the origin of our desires and our fears. We walk at a slow pace in the dark, along a deep and hoarse rale, attracted by the reassuring click of the water drops, the tongue slapping against the palate, close to the microphone. Then a voice crosses the cavity to our ears, powerful and sensual. To find our way back, we sing the ritornello, the one we have known since childhood:

This is the story I was told
It is possible that you know it
It happened in a cave
At the cave bottom she lived
In the cave she lived in peace
She saw no one no one saw her
No one had ever been there
It seemed that her look was killing
They always wanted to chase her away
They always wanted she never exist
All the time they condemned her
Of all the evils of all the sins
This is the story I was told
In the cave she lived in peace
In all times she was killed
Always she rose again
From her death life was reborn

https://www.kunstradio.at/2022B/18092022.html
Alain Damasio & Floriane Pochon - Time Grows By

9 September 2026 9:00 pm - 9:40 pm

Time Grows By is an immersive audio drama conceived as a soundwalk, where listening becomes the primary narrative force and the listener’s body is part of the experience. Set in a garden imagined as a temporal anomaly, the piece explores a world where past, present and future coexist, interfere and take root.
Guided by a fictional character claiming to come from the future, the listener moves through shifting temporal states rather than a linear story. Industrial ruins, vegetation, water and unrealized futures surface and dissolve. Time no longer passes: it thickens, bifurcates and accumulates in bodies and materials.
Through poetic narration and spatialized sound, the piece destabilizes perception and invites pauses and moments of uncertainty. Originally created as a site-specific work, Time Grows By functions fully as an autonomous audio drama, proposing imagination as a form of care and resistance.

Artist bios:

Alain Damasio is a French writer whose work bends language toward politics, ecology and speculative futures, with a strong attention to rhythm, voice and collective imagination. Floriane Pochon is a sound artist, founder of Phaune Radio, where listening is treated as a form of relation rather than representation.
For over a decade, they have collaborated on sound pieces that unsettle linear narration and fixed points of view. Their shared practice weaves voice, space and sound into immersive situations where time slips, perception shifts and meaning remains in motion, inviting listeners to inhabit uncertainty and imagine other ways of being together.

Website/social links

https://phauneradio.com/en/
https://tarabust.com/
https://phauneradio.bandcamp.com/
https://instagram.com/phauneradio
https://www.facebook.com/phaune/
https://x.com/phaune
https://www.youtube.com/@PhauneRadio
Ernests Vilsons - catalogue of noisy swing recordings

9 September 2026 9:40 pm - 10:00 pm

"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.
Since the work is a catalogue, the individual recordings could be played either one after the other or interspersed between other works.

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
Radiophrenia Shorts 36A

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

1 Jonty Harrison - Postcards from Azet (10:00)
2 Ollie Hawker - Four Short Pieces for Somewhere Incredibly Far Away (10:46)

3 Aleatory Music Systems (AMS) - Up/Down (7:79)

1) Jonty Harrison - Postcards from Azet

Four aural snapshots based on recordings made in and around the village of Azet in the French Pyrenees.

Openings – opening and closing the church door…
Bells – marking the approach of the hour…
Fountain – a place to meet and chat at the centre of the village…
Valley – a plane passing high over nearby Vallée d’Arsoué frames the lazy soundscape of insects, birds and cowbells…

Postcards from Azet was composed for and premiered at Aure sonore: festival de paysage sonore, Azet, 2-6 August 2023.

Jonty Harrison (1952) studied at the University of York, before working at the National Theatre and City University, London. In 1980 he joined the University of Birmingham, where he directed the Electroacoustic Music Studios and BEAST. He retired in 2014 and is now Emeritus Professor of Composition and Electroacoustic Music. Gastprofessur, TU, Berlin (2010); Leverhulme Emeritus Fellow (2014-15). Compositeur Associé, Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France (2014–).

He has received many commissions and prizes internationally, and his work appears on four solo albums (empreintes DIGITALes, Montreal) and several compilations.

https://electrocd.com/en/artiste/harrisonjo/JontyHarrison

2) Ollie Hawker - Four Short Pieces for Somewhere Incredibly Far Away

Four Short Pieces for Somewhere Incredibly Far Away is a piece for singing percussion duo and electronics by Ollie Hawker, written for and performed by the Köng Duo (Bevis Ng and Hoitong Keung) as part of their joint residency at The Banff Centre for Arts and Creativity in Alberta, Canada.

It utilises text-to-speech, text-to-song and a really janky A.I. text generating software to sketch several miniatures exploring memory and distance in the digital self.

Four Short Pieces... is presented here alongside several interviews in which the duo talk about their memories of Hong Kong, bringing intimacy and meaning to such seemingly trivial memories as public transport.

Text by Thomas Lyle, Josie Rogers, Thomas Moore and Ollie Hawker.

Ollie Hawker (he/him) is a composer and community music practitioner based in Glasgow. His recent work combines a sonic arts training in texture and timbre with a love of simple harmony and stillness. His music strives for a clarity that is both fragile and touching, likely to get blown away by a strong gust of wind.

olliehawker.com
https://www.instagram.com/ollie.p.hawker/

3) Aleatory Music Systems (AMS) - Up/Down

This new work from Robert Baldock’s ‘Aleatory Music Systems’ project takes its starting point with the Shepard Tone. The infamous aural illusion presents a tone that rises, or falls, infinitely.

By introducing the seemingly prosaic interventions of a porcelain butter dish being struck or being submerged in water, AMS conduct their customary exploration of the chaotic edges undermining the border territories of systems music. The work is an invitation to ponder time, and change, and movement. If sound purporting to be rising for ever is just a brief illusion captured in a loop, does it move at all? Can a sound, after all, exist outside of time?

Jez Butler: Mastering
Michael Begg: Narrative
Andy Fielding: Artwork

Robert Baldock is a Scottish-based new media artist who has worked under the name Aleatory Music Systems (AMS) since 2002.

His practice explores the interface between order and chaos through improvised and semi-improvised structures shaped by chance operations. Works are created using Max/MSP alongside modular analogue audio and video synthesis, drawing on analogue synthesizers, General MIDI, shortwave radio, and field recordings.
Since surviving a serious stroke in 2017, Baldock’s work has focused on the loss and reconfiguration of language and expression. Living with aphasia and verbal dyspraxia, his practice addresses disrupted communication, where intention, articulation, and comprehension no longer align.

https://aleatorymusicsystems.bandcamp.com/
https://www.instagram.com/aleatorymusicsystems/?hl=en
https://soundandmusic.org/discover/composer/robert-baldock/
https://britishmusiccollection.org.uk/node/67571
Radiophrenia Shorts 36B

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

1 Melanie Sevcenko - Instructions for Finding Me on the Radio (4:09)

2 Magda Lampropoulou - Reflections (13:00)

3 Regan O'Brien & SM Milligan - Make up Play. A soliloquy on light and shadow (5:08)
4 Owen Duff - The Meaning of Alexa (Ambient) - Can we be happy? (7:06)

1) Melanie Sevcenko - Instructions for Finding Me on the Radio

"Instructions for Finding Me on the Radio" is part of a larger literary audio project called "Educated Ear." Currently a work-in-progress, "Educated Ear" is my second poetry collection which contains five chapters – Listen, Field Recordings, Production, Mixing & Mastering, and Performance – with 60-plus poems categorized into each section. The overarching themes of the collection include memory, archiving, recording, interpreting beauty, and the art of listening. Accompanying the collection is a "playlist" that includes ten of the poems produced as pieces of sound art, which will then become an interactive sound installation. "Instructions for Finding Me on the Radio" is a work of sound art produced from one of the poems in the collection of the same name, included in the "Listen" chapter.

https://www.msevcenko.com/
https://www.instagram.com/melaniesevcenko/

2) Magda Lampropoulou - Reflections

“Reflections” is a sound performance with my upcycled kitchen tools and everyday objects as real musical instruments which took place on September 20, 2025 as part of the Processes Festival 2025. In this electroacoustic piece you can listen to some extracts during a 35-minute length performance which was presented at REVMA in Athens.

Magda Lampropoulou (b. 1977 Athens) is a sculptress and sound artist based in Athens, Greece. Her artwork engages with diverse, expressive media including audio, performance, sculpture, installations, and video. With emphasis on issues such as discrimination, prejudice, and moral values imposed by a given society, she assumes a humanitarian approach to her work.
She holds a degree in Sculpture from the Athens School of Fine Arts. Her participation in exhibitions, festivals, artistic radio podcasts and residencies (“Subset Festival”-Athens Epidaurus Festival/ "Tectonics Athens21", Onassis Cultural Centre/ "Works for Radio #4", The Lake Radio), has resulted in her identifying her work methodology.

https://magdoulas6.wixsite.com/magda-lampropoulou
https://www.instagram.com/lampropoulou_magda/
https://www.facebook.com/profile.php?id=100009992858432
https://www.facebook.com/profile.php?id=100063475181193

3) Regan O'Brien & SM Milligan - Make up Play. A soliloquy on light and shadow

A woman reflects on herself as a young girl who is secretly watching her mother put on make up to go out. Her voice, my shaking breath, their voices, the voices of her ancestors attuning momentarily, in the fading light of dusk. A fragment of a memory unmoored from meaning, adrift in the telescopic reflections of a lineage of powerful women rebuilding their identities.

https://smmilligancom.wordpress.com/496-2/
https://www.reganobrien.com/projects

https://www.instagram.com/reganobrienmusic/
https://www.reganobrien.com
https://smmilligan.com
https://www.instagram.com/bethaniensdust/

4) Owen Duff - The Meaning of Alexa (Ambient) - Can we be happy?

http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com
Leon Clowes - Empirical Evidence of the Existence of Angels

9 September 2026 11:00 pm - 11:15 pm

The piece documents 11 days and 11 hours of my early addiction recovery and attendance at Alcoholics Anonymous meetings. It is based on an artswork experiment where I noted the thought, time and place of when I saw a feather on my daily routines around London. Sharing intimate inner thoughts within a delicate sound design frankly exposes the internal struggles of someone attempting recovery. Delivered in a calm (yet unsettling) Radio 4 Shipping Forecast/James Alexander Gordon-like tone, the radio piece will give listeners insights to the internal world of private thoughts that we all have.

Artist bio:

I am an artist working with sound, story, and social practice. My artswork navigates taboo, memory, grief, and the uncomfortable. Forms range from participatory performances and installations to sound design, audio collage, and live storytelling, often created with and around communities. Ideas I explore include kinship care, gay male experiences in white working-class contexts, addiction, recovery, and the social systems that shape these experiences. My current major projects are "Absent Fathers" (Birmingham Opera Company/Resonance FM), "Empirical Evidence of the Existence of Angels" (Naviar Records) and "Casting a Fairlight on the Time of AIDS" (New Note Orchestra/The Sunday Boys Choir/Routledge Books)

Website/social links

https://leonclowes.com/
https://soundcloud.com/leonclowes
https://www.youtube.com/@leonclowes
https://www.instagram.com/leonclowes/
https://recovery-arts.org/
Egor Sevastyanov - Firework

9 September 2026 11:15 pm - 11:59 pm

Firework is a radio-based work developed from a live performance recorded during nights of civic protests against the Georgian government. The sound material is drawn from real-time radio broadcasts, live street reports, and audio streams captured directly from moments of confrontation between protesters and police. Fireworks, used in the streets as improvised weapons and signals, became a central acoustic element of the piece. The work was created through a method that depends on simultaneity and chance: modular synthesis and live signal processing were used to transform incoming radio transmissions in real time. The resulting composition could only exist under these specific conditions — when political events, broadcast signals, and live performance aligned. Artist bio: Egor Sevastyanov is a sound artist, composer, and production sound mixer working across experimental music, radio practices, and film. He works with modular synthesis, live radio transmissions, and field recordings, often integrating documentary reality into improvised sound structures. Sevastyanov has worked as a production sound mixer on films screened at major international festivals, including a film awarded the Golden Bear at the Berlinale. Alongside his film work, he develops live performances and radio-based projects that explore chance, instability, and the sonic material of social and political environments. Website/social links https://egorsevastyanov.bandcamp.com/ https://www.youtube.com/@aeroegor

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:

Paul Devens - Barn Find #1

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

Barn Find vol.1 is a collage out of sound fragments, taken from vinyl records from the 1950s, '60s and '70s. These records were especially made for amateur filmmakers, who were using super8 or single8 small film. Usually, these films recorded silent footage; the records provided sounds for a later phase of editing or screening. Thus, a lively sound and vision was to be experienced. The collage contains sounds from farm animals, there's a rocket lift-off, the ring and bing of pinball machines, racing sounds from motorcycles, the rattling sounds of chains for horror films and the screams too, sounds from a hot and sweaty sauna, there are explosions, elevators, separate instruments from an orchestra, bird whistles, the murmur of people, the hissing and thumping of steam engines, sinus and white noise test tones for testing your hifi setup, sci-fi soundtracks, courses in various languages, you'll hear morsecode, wind, water, etc.

Artist bio:

The possible manifestations of physical space and social context define the site-specific qualities of the work of Paul Devens (Maastricht, 1965). To make a unique work in a given space makes it compulsory to engage a custom strategy to fit that specific situation in order to issue- and to unfold the distinctive qualities of that space. Devens produces sound art, intervenes in architecture and sometimes cooperates with other makers.

Website/social links

https://www.pauldevens.nl
https://pauldevens.bandcamp.com
https://open.spotify.com/artist/47UMLdoE0bYc4esbqLUBKq
https://www.facebook.com/paul.devens
Crónicas al borde - Machángara: entre la cangahua y la arena (Machángara: from the volcanic soil to the sand)

10 September 2026 1:00 am - 1:45 am

The Machángara River flows through the city of Quito for twenty-two kilometers. Along its course, it receives, among other things, industrial discharges and most of the city's untreated wastewater. Thanks to the protection of the rights of nature in the 2008 Ecuadorian constitution, a 2024 ruling in favor of the river recognized it as a subject of rights and ordered the restoration of its life cycles. In this episode, the voices of those who live on its banks and the sounds of the vitality that share its ecosystem lead us to think about what the Machángara River is and what it can be.

This is a collective piece:
Field production, research, and script: Byron Toledo (Artist-Ecuador) and Giulianna Zambrano Murillo (Artist-Ecuador)
Music and sound design: Pablo Molina Suárez (Musician-Ecuador)
Ilustration: Cristina Yépez, cardenilla (Artist-Ecuador)

Artist bio: Crónicas al Borde is a podcast and sound intervention project that combines creative narrative and sound to address transformation. Our stories and sound essays approach contemporary social debates from the perspective of how they sound in Latin America and their connections today.

Website/social links

https://cronicasalborde.com/proyecto/
@cronicas.alborde
@julialune
@byron_toledo87
@pablomolina.suarez
Thanos Chrysakis -Where a Path Meets Another Path

10 September 2026 1:45 am - 2:00 am

Radiophrenia Shorts 71

10 September 2026 2:00 am - 3:00 am

1 men in the sun - ghost drift (10:24)
2 Lenara Verle - Dreamscaping Territories (10:00)

3 Colectivo La Pesera - Lost communication (17:29)

4 Jan Mertens - Wet Tech #4: Adventures in the field (22:20)

1) men in the sun - ghost drift

1000 voices in there, paper pages, trembling metal, crashing cymbals, wining strings vibrate in 11 dimensions, spectral reverbarations, unusual overtures, receding ghosts.
Men in the sun are a duo based in Glasgow, producing devotional sounds of tensile echoes, warped iron beneath quiet tides, spectral sunken strings and wet metal whispers.

2) Lenara Verle - Dreamscaping Territories (10:00)

The wisdom of Indigenous peoples tells us dreams have a role in creating reality. Our dream practices are powerful. In a society where our attention is being extracted as a finite resource, our minds and our imagination have been restricted by what the movies, the news, and social media choose to show us as realities and possibilities. If we want to effect positive change in the world, the first step is to be able to imagine, to dream of a bright future. A life infused with love and awe, with nurturing relationships. Using a mix of modern and old technology to invite a mind state similar to a dream state, we gather to nurture our power of imagination. We dreamscape a unified land of thriving, unique and interconnected beings. Our dream is witnessed and launched into the collective consciousness to resonate with the wider worlds, our future selves and descendants.

Researcher in the field of art & technology, currently exploring the topic of dreaming as a technology.

I have my own art practice, which is integral and complementary to my research practice. My artworks have won awards and residency grants at places like ZKM Center for Media Art, UNESCO/ASCHBERG, Planetary Collegium, Malaga University, Center for Advanced Hindsight, Durham.

Beyond the world of technology, the natural world is very important to my practice. I steward an allotment garden and have a certificate in Permaculture Design.

https://www.lenara.com

3) Colectivo La Pesera - Lost communication

The loneliness dominant in the present days and the rapid development of technology lead to wonderings whether we are alone in this existential space? Are we alone? Is anybody out there? And one starts searching for answers and the possibilities to establish a communication. Thus this experimental sound peace came to life - with help of parabolic antenna, piezoelectric microphones and digital recorder we tried to converse with out-of-space beings. Only the listener can judge whether there was an answer.

We are a multidisciplinary artistic collective founded in 2012 in the city of Puebla, Mexico, integrated by Agnija Anča (Latvia) and Nereo Zamítiz (Mexico). We create artistic projects involving analog and digital photographic processes, video art, sound art, and live audiovisual presentations. We have held exhibitions, workshops, and presentations in cultural spaces, universities, and museums in Mexico and Latvia, hosted cultural radio programs, and collaborate on music, dance, theater, and performance projects.

colectivolapesera.com
facebook.com/colectivo.lapesera
instagram.com/colectivolapesera
twitter.com/peseracolectivo
instagram.com/colectivolapesera

4) Jan Mertens - Wet Tech #4: Adventures in the field

Performance by Jan Mertens as part of Wet Tech #4: Adventures in the field. Wet Tech is an occasional performance event series focusing on improvisation & experimentation in sound & image, organised in Dundee, Scotland. The evening was centered around sounds made from and inspired by field recording.

Jan Mertens presented a sound work built from five 11-second tape loops of field recordings gathered over several years at sites including Giant’s Causeway, the Irish Sea, Malham Cove, and California. These fragments were manipulated and resynthesized live, creating shifting textures where memory and environment fold into one another. The piece explored how brief sonic impressions can be stretched, layered, and transformed, turning moments of time and place into evolving auditory topographies.

Recorded at the Dundee University Chaplaincy on 3 November 2025.

Jan Mertens is a musician and sound artist from Ghent, Belgium based in Dundee, Scotland. His work explores the possibilities of organic and synthesized sounds. His works has been presented by institutions across the UK and internationally including the V&A museum London, Wellcome Collection, the Scottish Poetry Library, D21 Leipzig, and the Centre for Poetic Innovation University of St. Andrews. He frequently collaborates with Johanna Linsley.

https://soundcloud.com/janmertens
https://www.instagram.com/w3773c/
https://www.instagram.com/mertensjan/
Conduction Series 3

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

The 2025/6 Conduction Series The Spiral 11/7/2025 Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, 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/
Absurd Cosmos Late Night 1

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

Radiophrenia Shorts 11A

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

1 Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman (7:06)
2 berni m janssen - wira waters wake (12:00)
3 Dianne Ballon-South Freeport Boat Landing-Boats Rocking (1:40)

4 damarin - sonnet of sibilance (3:55)
5 Sandra Nohemi Rangel - No preguntaron (8:30)

1) Ilaria Boffa - Sound 48, An Ode to a Parrot, a River, a Woman

This composition is part of the Cities and Memory project ‘A Century of Sounds’. 100 artistis contributed to this permanent sound installation now exhibited at the Pitt Rivers Museum in Oxford/London.
A reverberation, a story, a journey within a journey, moving through spaces and beings, merging voices temporally scattered. An original 55sec recording, an Indigenous woman calling to a parrot on the Purricha river, a diary, two students – Jonathan Ambache and Richard Saumarez Smith - their anthropological research and a summer trip to Chocó Department, Colombia, 1965.
- Sonopoem, field recording taken inside the Bacchiglione river in the Euganean Hills (Italy) w/ JRF hydrophone and Zoom H6 recorder, intro and outro performed on Lyra8 organismic synthetiser by Ilaria Boffa.
- Spanish spoken word by Colombian anthropologist and artist Elizabeth Gallon Droste
- 1965 original recording by J. Ambache and R. Saumarez Smith

Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London.

https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa
https://www.instagram.com/ilaria.boffa/

2) berni m janssen - wira waters wake

wira, Adnyamathanha for River Red Gum, the iconic tree found widely across Australia, marks the presence of water.
In arid places the water may be far below the surface in paleo channels formed thousands of years ago. The red gums long tap roots draws the water into the tree, onto the surface, providing water and refuge for an interconnected community.
wira providing shelter, food, medicines, is considered sacred, standing for water, life, hope.
wira ecosystems are under threat: drier climate; reduced water availability; water tables depleting and not being refreshed.
The first of 3 parts, wira waters wake honours the importance; of wira, their ecosystem, place in the land and profound connection to peoples. It also sounds an alarm.
Text, vocals, field recordings, composition – berni m janssen
Field recordings from: Mambray Creek; Bunyeroo Gorge; Parachilna Gorge; in the Flinders Ranges. Australia.

berni m janssen, a maker of: poems, texts, books, performances, sonic and visual art, events, programs & projects. Many collaborative, multidisciplinary, community engaged, ‘live art’, long-term. She works solo and with musicians, performers, sound, visual and text artists. The work has been presented in books and magazines, on radio and web, at events, festivals, over many, many years. She lives and works on the unceded land of the Djaara people.

Instagram beejaytrix

3) Dianne Ballon-South Freeport Boat Landing-Boats Rocking

Although I have a windscreen for the microphone which works most of the time, the wind is my nemesis. And yet, I need the wind to rock the boats.

Each harbor has its own distinct sound. Rocked by the motion of water, the pull of the tide, and a variable touch of wind, the boats create a mesmerizing series of sounds. The sounds are introspective: both sharp and smooth, quiet and busy, rhythmic yet random and, to me, achingly beautiful.

Maine sound artist Dianne Ballon received a Maine Artist Fellowship and an Artist-in-Residency at Shenandoah National Park. Her sound works have aired on National Public Radio. Her “Boats Creaking at a Dock in Iceland” was awarded at an international radio art competition. “Lost and Found: Sounds of the Maine Coast by Dianne Ballon,” at the Maine Maritime Museum, featured her field recordings of harbors, boatyards, sounding buoys, historical bells, whistles and early foghorns. At the National Audio Theatre, she produced radio theatre. For museums, she produced audio accessible to the blind. She teaches audio through Maine College of Art.

https://www.dianneballonsound.com
https://www.dianneballonsound.com/soundwork/lostandfoundsoundsofthemainecoastbydianneballon/

4) damarin - sonnet of sibilance

A sonorous poem exploring the corporeality of consonants, sibilants and hisses through the letter S, an exploration of serpentine synths, slithering sounds, salacious souls, softness and loss..

Based in Bucharest, I am a student of the radio drama. I also release music under the same moniker. I am preoccupied with storyworlds, especially transmedial tales that extend over various forms of media (like Orson Welles' Harry Lime). One day, visiting Glasgow with a lover I became enamored with the city and its many twists and turns and narrow passes. I remember this upward passage squeezed between two buildings, two pigeons intertwined on the heights, over our shadows. The city has remained close to me since then.

https://www.instagram.com/damarin1917

5) Sandra Nohemi Rangel - No preguntaron

In "No preguntaron" I explored the modification of the semi-rural landscape on the outskirts of the city where I live with the arrival of luxury real state companies that perpetuate dishonest practices regardless of the environmental changes they cause in the native flora and fauna of the place; as well as the adaptation of local residents to forced urbanization.

Sandra Nohemi Rangel(1995) A Mexican audiovisual artist and archivist whose practice lies at the intersection of contemporary video, sound experimentation and critical documentation. Her work explores memory, the body and nature through the use of archives, sound, code and moving images. In her artistic practice, she seeks to develop ongoing dialogues with digital environments, conceptualizing documentation as a space of resistance and personal and collective reconstruction, questioning the permanence of sound and visual records.

https://www.instagram.com/comprimidopurpura/
https://soundcloud.com/comprimidopurpura
Radiophrenia Shorts 11B

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

1 Fulya Uçanok - Nearby the Blackbird (6:45)
2 Benoît Déchaut - ITC Experiment (10:52)
3 Kamikaze - Gracia de dios (2:14)

4 Tumelo - Track of the Unknown (5:03)

1) Fulya Uçanok - Nearby the Blackbird

Nearby the Blackbird (2025) This work grew from a curiosity to travel sonically alongside blackbirds, created from early morning field recordings in Graz, Austria, during a 2024 research residency. The title draws on documentary filmmaker and feminist theorist Trinh Minh-ha’s concept of “speaking nearby,” which embraces a mode of relationality that listens and responds, not by speaking about the other, but by sounding with them in sonic proximity. The piece invites listeners into a reflective space, as it explores the complex (im)possibilities and (mis)understandings that emerge when sounding with and nearby another voice; in this case the voices of blackbirds.
https://www.researchcatalogue.net/view/3569959/3569960

Fulya Uçanok is an electroacoustic musician and artist researcher. Her work takes forms of composition, score-based or improvised performance. She works with field recordings, acoustic pianos coupled with a variety of objects (inside-piano technique), everyday objects as instruments, and electroacoustics.
Her current research interests include response-able sonic practices with humans, more-than-humans, and materials; the role of musical instruments as material agents in human-instrument collaborations; sympoietic practices in multivalent, immanent spaces within electroacoustic composition and performance.

https://www.fulyaucanok.com/
https://www.facebook.com/fulya.ucanok.9
https://www.instagram.com/fulya_ucanok/

2) Benoît Déchaut - ITC Experiment

We are the july of 2021. I'm in the middle of France in an old water mill. Peoples there, ear some weirds sounds and voices. I pass two weeks here and after few days, i ear also some voices or i feel like a car arrive like a loop. I set up an experimental sound for trap this voices.
I use the technicals of the instrumental transcommunication with 6 FM radio, a FM transmitter, a Revox B77, a mixer, 2 speakers, stereo microphone, a pick up coil microphone, some pedals effects and a dynamic microphone. The white noise of FM radio mix with the water and the sounds send back to FM Radio. It's big feedback loop.

We will ear...

This audio piece was published on the CD accompanying the ninth issue of Jef Klak's magazine “Feu Follet.”
https://www.jefklak.org/disque-feu-follet/

Benoît Déchaut is a sound artist and sound engineer.
He works in film, radio production, and theater, and gives workshops to various audiences. His sound research takes the form of compositions on records, performance installations, and radio productions. He works in particular on recording ruined spaces and manipulating and capturing silenced sounds. His practice revolves around collective creation.
He participates in several collectives (Jef Klak, Brut Pop, La Turbine), including Rotor, a sound laboratory in the train station of the village of Thoré-la-Rochette (41), which he founded with other musicians and tinkerers.

https://benoitdechaut.com
https://piaille.fr/@BenoitDechaut
https://www.instagram.com/benoit.dechaut/
https://soundcloud.com/user-675928193

3) Kamikaze - Gracia de dios

“Gracia de Dios” is a short, meditative composition that moves with subtle sensitivity, opening a space of inward reflection and quiet surrender. Its emotional development is gentle and contained, guiding the listener toward a sense of peace and contemplative awareness.
Even when we cannot feel the love of Go, the absence is not real; in trying to fill our inner emptiness elsewhere, we unknowingly distance ourselves from what has always been there.

I am a Mexican sound designer and educator whose work bridges technical precision with deep narrative sensibility. As a self-described “audio wizard,” she specializes in crafting immersive sonic environments that shape perception, emotion, and meaning across artistic and educational contexts. With a strong foundation in critical listening and semiotic analysis, she approaches sound not merely as a technical phenomenon, but as an energetic force capable of transforming space and experience.

https://soundcloud.com/minor_aranza
Instagram: aranpilla

4) Tumelo - Track of the Unknown

The bus has left; you're inside, and your seat is warm. You watch as others laugh inside. Tilt your head and you notice the grey clouds looming outside. The bus coughs up smoke, and you get lost in the haze of the interior. You have somewhere to go so you're just going to have to take it. Even if it kills you.

Tumelo Sedibe is a transdisciplinary artist that works with the curious and strange. Invested in co-creation, Tumelo currently spends time as an art student, learning from peers and assisting seminars, all while working at the Wits Art Museum part-time. Sound is a recent addition to their artistic research, elevating the work in differing and felt manners. Born in Nelspruit, Tumelo challenges categorisation at the core of their work with group exhibitions at The Point of Order, the Link Gallery at the University of Pretoria and was commissioned for a mural at Engage’s Men’s Health clinic, Braamfontein, while developing their practice.

https://www.instagram.com/queen.sedibe/
Radiophrenia Shorts 12A

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

1 Lidia Zielinska - Lunches in Rejowiec (Obiadki w Rejowcu) (8:46)
2 Melanie Sevcenko - What This Means For Your Life is Nothing (10:35)
3 Petri Kuljuntausta – Aspen (9:46)

1) Lidia Zielinska - Lunches in Rejowiec (Obiadki w Rejowcu)

Mikołaj Rej (1505–1569) was the Polish poet and prose writer of the emerging Renaissance in Poland as well as a politician and musician. He was the first Polish author to write exclusively in the Polish language, and is considered to be one of the founders of Polish literary language and literature.
In my piece "The Lunches in Rejowiec" ("Obiadki w Rejowcu") I was inspired by some excerpts from his "Life of an Honest Man" ("Żywot człowieka poczciwego"). The fragments used in the composition are almost old Polish cookbook and from today's point of view, praised Polish cuisine and slow food.
Rej's text is performed by the famous Polish actor Krzysztof Kolberger, and I am slicing vegetables at the microphone.

Lidia Zielinska – Polish composer, professor of composition and director of the Electroacoustic Music Studio at the Academy of Music in Poznan; numerous awards for orchestral music, multimedia, electroacoustic works; books, articles, papers, guest lectures (topics: sound and music, acoustic ecology, Polish experimental music, traditional Japan music), summer courses, workshops in Europe, both Americas, China, Japan, New Zealand; electroacoustic compositions realised at the EMS Stockholm, SE PR Warsaw, IPEM/BRT Gent, ZKM Karlsruhe, Experimentalstudio des SWR Freiburg; vice-president of the Polish Society for Electroacoustic Music, former vice-president of the Polish Composers’ Union, programming committee member of the “Warsaw Autumn” Festival. lidiazielinska.wordpress.com

lidiazielinska.wordpress.com
https://soundcloud.com/lidia_zielinska

2) Melanie Sevcenko - What This Means For Your Life is Nothing

Decades ago, while traveling extensively in my mid-twenties, I visited with two “psychic” practitioners on a whim of curiosity: one in Austin, TX, who used crystal and light therapy to gather past life information, and the other a clairvoyant tea leaf reader on the Bruce Peninsula in rural Ontario, Canada. Remixing the original recordings of these psychic tapes, “What This Means For Your life is Nothing” is a dizzying collage of parallels, contradictions, and ethereal guidance from two outsiders on one young life, playfully commenting on the insolubility of mysticism.

https://www.msevcenko.com/
https://www.instagram.com/melaniesevcenko/

3) Petri Kuljuntausta – Aspen

The work is based on two soundscape recordings I made in summer 2025: a huge aspen tree swaying in the wind on the shore of a lake, and early morning bird soundscape.

The work begins with the rustling sound field created by the leaves. When the wind blows, thousands of leaves beat against each other. As the protein-rich leaves of the aspen are hard, this produce rhythmic sounds when they hit each other. A wide "clapping sound field" is created. A few dotted water sounds and the splashing of water might tune the ear to the waves. But this is an illusion, it is the sound of aspen.

The second sound layer is a modified, abstracted and distanced, bird soundscape. This provided a starting point for new sounds generated with granular synthesis. The work ends as it began, with the sound of a huge aspen tree in the wind.

Petri Kuljuntausta compose electronic music, improvises as a guitarist and with electronic instruments, plays with animals and birds, makes underwater performances, performs in different natural spaces with environmental sounds, and create sound art. Kuljuntausta is currently developing the technique on how to play as an artist with nature and animals: How to connect through sound to the sound processes of the environment equally and without disturbing the nature’s own sound processes. He is an adjunct professor in sound art and electronic music.

https://kuljuntausta.com/
Radiophrenia Shorts 12B

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

1 Nicolás Rey – Phenomena (5:27)
2 Tisa Neža Herlec – Dust (8:33)
3 Volker Ignaz Schmidt - Solfeggio Apparation II (11:21)
4 Hans Parment – Roll (3:23)

1) Nicolás Rey – Phenomena

PHENOMENA is a single track from The Other-Voices, an Argentine research-based sound project focused on voice, listening, and technological mediation. Conceived as a sonic piece rather than a linear composition, PHENOMENA places radio practice at the center of its inquiry, approaching broadcasting and transmission as both material and method.

Built from radio signals, archival recordings, and processed vocal fragments, the piece engages with forms of vocal spectrality as media phenomena: fractured utterances, altered timbres, and residual presences shaped by tuning, interference, and signal decay. The voice appears not as expression, but as trace—marked by the technical and temporal conditions of radio transmission.

Rather than advancing a closed narrative, PHENOMENA unfolds as an open listening situation informed by media-archaeological thinking. Through its sonic structure, the piece invites a speculative mode of listening attentive to mediation, discontinuity, and the fragile thresholds through which sound persists and meaning momentarily takes form.

Sociologist and sound artist based in Buenos Aires, Argentina. PhD candidate at the University of Buenos Aires. His work combines artistic practice, university teaching, and academic research at the intersection of sociology, sound studies, and media studies. He explores voices that insist on existing through deteriorated recordings, obsolete technologies, and sonic excess, where the recorded voice shifts from document to event.

Through radio practices, magnetic tape, and analog devices, he investigates vocal traces that persist within noise as forms of memory and mediation. His work also dialogues with projects such as Umbral and The Trace of the Siege.

li.sten.to/nicolasmrey

2) Tisa Neža Herlec – Dust

Dust is omnipresent, dust is persistent, dust is a metaphor for community and action.
This participatory and partially improvised radioplay was made in one take, in a live setting, including the voices of the audience that constructed the polyvocal character of The Dust.
Direction and narration by Tisa Neža Herlec (Radio Študent, Ljubljana), the voice of the asthmatic by Lukas Simonis (Radio Worm, Rotterdam), recording and master by Ash Kilmartin (Radio Worm, Rotterdam). It was recorded in Divo Institute, Beja, Portugal in june 2025 during Let's do it Festival.

Tisa Neža Herlec aka Tisa World (Slovenia/Netherlands) is a multidisciplinarian whose practice weaves voice, language, print-making, performance, composition and collective endeavours. She loves to share her methods of creation and empower collective art-making and publishing, often within the context of performative arts and radio. Currently, she is a resident of Švicarija, MGLC (The International Centre of Graphic Arts) in Ljubljana, Slovenia (2025-2027).

https://tisa.world/
https://www.instagram.com/tisaworld_/

3) Volker Ignaz Schmidt - Solfeggio Apparation II

The acousmatic composition is based on a piano part played by the pianist Friederike Wild. The sound material was electronically processed, alienated and enriched with binaural beats.
The piece uses the solfeggio frequencies as pitch material. In addition to the importance of these frequencies (ut, re, mi, fa, sol, la) in the teachings of the music teacher Guido of Arezzo, there is esoteric theory about the healing powers of these frequencies, such as "liberation from guilt and fear (ut-396 Hz.)", "miracles and signs, transformation, DNA repair (mi-528 Hz.)" or "the return to the spiritual, divine order (la-852 Hz.)".
Volker Ignaz Schmidt (born 1971 in Germany) studied computer science although his passion is music. He has composed solo works, chamber music, vocal pieces, orchestral music, chamber operas, conceptual and electronic music. He has written piano textbooks and he worked in school projects on contemporary music.

http://www.volkerischmidt
vis_composer

4) Hans Parment – Roll

Roll (composed 2019) commissioned work for opening of the new house for Swedish broadcasting (SVT) and the wall paintings. Collaboration with Martin Bornholm an visual artist who made mural painting with 12 different rollers with different sound. I sampled all twelve rollers under the working in progress in his studio and create piece, the working gestures is very import for the piece.

Hans Parment has written music for a diverse range of performers and environments. His compositions cover the complete spectrum of instrumentation, from solo to orchestra. Parment also works with electroacoustic music, often combining electroacoustic treatments with instruments and as a flutist he also plays improvised contemporary music. Parment often works on interdisciplinary projects bringing together visual artists, contemporary dance, performers and video film makers.

https://italienskapalatset.se/konstnar/hans-parment
Jack Vickridge - Elsewhere

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

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/
Thanos Chrysakis - Spectral Forest

10 September 2026 7:30 am - 7:40 am

Michael Ridge - Coastal Memories Fading & Wistfulness of Magnetic Bird Song (20 mins)

10 September 2026 7:45 am - 8:05 am

Composed entirely from extended cassette tape loops which combine lo-fi ambient music with found field recordings of bird song, chimes, streams/rivers and waves lapping on the shore. A hazy dreamlike sound work of fading coastal memories and distant bird song from long ago. Artist bio: Michael Ridge is a Norwich-based artist who works in a variety of mediums spanning sound, video, photography, performance and collage. The core of their sprawling practice investigates sound reproduction and audio cultures, addressing themes of nostalgia, identity, time, experimentation, chance and play. Michael has exhibited and performed at numerous venues throughout the UK and overseas, including the British Library, New York Public Library for the Performing Arts, Firstsite, Outpost, Dundalk Institute of Technology, Hundred Years Gallery, and Norwich Castle Museum & Art Gallery. Website/social links @michaelridgeart michaelridge.wordpress.com
Radiophrenia Shorts 6A

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

1 Dianne Burdon - I can finally believe (16:49)

2 jonesy jones - woolf worldings (eel swish heron swing) (1:28)
3 Martha Riva Palacio Obón - Crickets at 30 percent become wind (16:32)

1) Dianne Burdon - I can finally believe

An investigation into the stickiness of belief through the medium of UFO sightings. Weaving samples drawn from videos of ufo sightings, ranging from declassified US Air Force videos to a family in Scotland, with out of sync loops there is a repetitious call and response. The question: do you believe? the incitement: like I believe, working as an antagonism through which we might try to understand ourselves as believing creatures, restlessly searching for something tangible onto which we can attach this want to believe.

Dianne Burdon is a researcher and artist based in Glasgow, currently developing a research project into the sound worlds of military infrastructure along the Clyde and its associated waterways.

Website/social links https://dianneburdon.com/

2) jonesy jones - woolf worldings (eel swish heron swing)

old memory
hits a ghost artery
sparking
a l c h e m y

3) Martha Riva Palacio Obón - Crickets at 30 percent become wind

In a conversation with Marie Bardet, Suely Rolnik mentions that our breath gives rhythm to our thoughts: "We dance with the biosphere..." Vibratile bodies that wave and are, also, atmosphere. The barrier between interior and exterior dilutes. I change scales and get lost in this continuum that connects organic and inorganic matter. Fluid, ghostly sound entities that don't care for human boundaries. This essay in three tracks or stridulations emerges from the digital mix of two field recordings: one cricket chirping in my room and a night cricket choir in a garden.

First stridulation - wind 5' 07"

In the microcosmos, the crickets generate atmospheric perturbances.

Second stridulation - aurora 5' 44"
Static, white noise, micro weather of the barely audible.

Third stridulation - mantra 4' 41"
Threshold, membrane, it's impossible to go back.

Mexican author and interdisciplinary artist obsessed with atmospheric phenomena and crickets. (You can tell she may listen either for hours.) She studied a BA in psychology and a MBA in visual arts. Her sound essays have been presented in spaces such as Tsonami, Sur Aural, soundpedro, prior editions of Radiophrenia, the Center of Complexity Studies (UNAM) among others. She's the human behind Sono-bot, a non-human entity that generates an infinite inventory of problable and improbable sounds in Bluesky. Among her published works are Liquen amonita, El mono infinito and Amor virtual con variaciones.

https://www.instagram.com/balighieri9/
https://bsky.app/profile/sono-bot.bsky.social
Radiophrenia Shorts 6B

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

1 Ivor Kallin - Barra Soap Opera 09 (2:13)
2 Bea Targosz & Marcin Dymiter - Neukölln. Oliwa. Sonic Portrait (13:33)
3 Water Feature - Various Birds - green poppet (1:32)
4 Vincent Eoppolo - The Struggling Artist feat Silvia Pepe (5:22)
5 Paul Collins - Radio Spots - Adolph Sax on a Swing (1:00)

1) Ivor Kallin - Barra Soap Opera 09
The work consists of 18 pieces, ranging from ~2 to ~12mins, mainly recorded on beaches on the Isle of Barra, featuring improvised vocal sounds with the sea or path as soundscape. There are also a couple of tracks recorded in Edinburgh on a dampened piano.
I play improvised music using a viola with the London Improvisers Orchestra (and previously with Barrel), bass with the Glowering Figs (and previously with Ya Basta) and electric violina with Electrio. I've been presenting a radio show on Resonance FM on and off for 20 years or so, under the guise of Ambrosia Rasputin.

The Ambrosia Rasputin Show by Resonance FM | Mixcloud
https://scatterarchive.bandcamp.com/album/in-barra-sing

2) Bea Targosz & Marcin Dymiter - Neukölln. Oliwa. Sonic Portrait
The project explores the theme of locality, emerging from collaborative processes as well as attentive listening to and observation of the environments in which individuals live. The work is based on field recordings gathered in the artists’ neighborhoods: the Berlin district of Neukölln and Oliwa in Gdańsk, and on the subsequent analysis of these recordings. The analyzed sonic forms refer to the documenting and mapping of the environment and to experiencing it through particular factors and characteristics. Through a sensitive engagement with familiar spaces—examining their unique characteristics, temporal dynamics, and ongoing transformations, often captured in passing—the project initiates a conversation about locality as a starting point for artistic inquiry and as a framework for reflecting on global concerns. The sound file is an excerpt from a spatial live installation that evolves over time as an ongoing interplay of field recordings from the two neighborhoods.

Marcin Dymiter moves in the field of electronic music, field recording and improvised music. He creates sound installations, radio plays, exhibitions and public spaces. Author of the books “Field Notes” and “Machines for Silence”. Independent curator of sound art. Member of the Polish Association of Electroacoustic Music.

Bea Targosz's sound installations have been presented at numerous art institutions and symposia, including Silent Green Kulturquartier, the Museum für Naturkunde Berlin, and the CENSE International Symposium on Sonic Ecologies. She is a member of the VIBRA Research Network and of Errant Sound.

https://errantsound.net/2025/09/neukolln-oliwa-sonic-portrait/
https://www.field-notes.berlin/kalender/neukolln-oliwa-sonic-portrait
https://emiter.org/
https://emiter.bandcamp.com/
https://field-notes.bandcamp.com/
https://culture.pl/en/artist/marcin-dymiter
@marcindymiter

https://beatargosz.com/
https://errantsound.net/about/
https://goldrausch.org/kunstlerin/bea-targosz/
@beatargosz

3) Water Feature - Various Birds - green poppet
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.
https://variousbirds.net
https://morsels.website

4) Vincent Eoppolo - The Struggling Artist feat. Silvia Pepe
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/

5) Paul Collins - Radio Spots - Adolph Sax on a Swing
This is a series of 17 one-minute radio-spots that use the radio itself as the primary source material. Random FM stations, in both Canada and France, were recorded and then manipulated using a variety of experimental methods and techniques. These one minute radio-spots are not designed to be played as a continous piece, but as individual elements, punctuating a day's programming or broadcast. A minute here, a minute there.

Paul Collins is a Toronto-born, Paris-based visual artist and musician. His paintings are represented by General Hardware Contemporary, Toronto. His prints are published by Michael Woolworth Publications, Paris. His most recent recording, Bez Vremena (2025), with Quentin Rollet and Marija Kovacevic, is now out on Astre d'Or Records. Collins is an active member of the Paris experimental music scene, playing frequently in such venues as Les Instants Chavirés, La Guillontine, Le NonJazz, Le Chair de Poule and Le Peine Perdue. He was a member of the Glenn Branca Orchestra.

https://www.instagram.com/paul__collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/
https://badge3.bandcamp.com

Shortwave Collective No ‘go-go girls (on the dancefloor)’

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

Shortwave Collective explore Citizens Band (CB) radio— frequencies dedicated to licence-free communication. As artists interested in radio as a way to bypass corporate communications infrastructures and harness atmospheric conditions, we are drawn to CB’s potential as a shared mode of connection.

Yet while CB radio presents itself as an open community, our experiences have been marked by inaudibility and exclusion. We investigate the gendered and discriminatory codes embedded in CB slang and speak back through poetic interventions: No ‘go-go girls (on the dancefloor)’ rejects a CB code that equates women with livestock, originally used to describe a truck hauling pigs or cows.

Working from locations dispersed across the globe, we explore our local environments, magnetically mounting antenna extenders to metal surfaces in attempts to meet on an 11-metre wave. These efforts to connect open speculative possibilities for a future collective CB radio community and shared poetic transmission.

This piece was developed during a tekhnē online residency supported by OUT.RA and Skaņu Mežs, between September 2025-January 2026. A companion text titled 'Becoming Citizens of the 11 Metre Band' is available via Skaņu Mežs.

Artist bio:

Shortwave Collective is an international feminist artist group using the electromagnetic spectrum as artistic material. They deliver workshops constructing open and untunable radio receivers that connect the listener to a fusion of natural radio emissions and human-generated transmissions.

Shortwave Collective’s active members are Alyssa Moxley (FR), Brigitte Hart (AU/UK), Georgia Leigh-Münster (UK), Hannah Kemp-Welch (UK) and Maria Papadomanolaki (GR).

Website/social links

https://www.shortwavecollective.net/
https://www.instagram.com/shortwavecollective/
Música Dispersa - Voices of Women

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

Voices of Women is a 27’41” radio artwork that assembles female voices, sound archives and electronic composition into a non-linear sonic genealogy. The work operates through juxtaposition rather than narration, weaving together historical recordings, ceremonial vocal practices, political speech and experimental music as a field of resonances across time, geography and culture. The piece combines electronic compositions by Daphne Oram and Hannah Peel—including material connected to the legacy of Delia Derbyshire—with spoken and sung voices drawn from diverse contexts: Indigenous women’s songs, communal vocal practices, archival interviews, and feminist and technoscientific discourse. Extracts from thinkers and figures such as Donna Haraway, Angela Davis, Wendy Carlos and Amelia Earhart appear not as authorities but as situated voices within a broader sonic constellation. Rather than presenting a linear history or a representational survey, Voices of Women treats voice as material, archive and political presence.

Artist bio:

Roberto Vilela is a sound artist, radio maker and independent researcher based in Spain. He is the founder and director of Música Dispersa, an artist-run platform dedicated to experimental music, radio art, archival practices and critical sound research. His work operates at the intersection of experimental sound, radio transmission and cultural archaeology, with a particular focus on feminist, anticolonial and queer perspectives. Through radio programmes, curated broadcasts and long-form research projects, he explores sound as a political practice, a living archive and a tool for counter-historical narration. Vilela’s practice privileges radio as an artistic medium in itself rather than as

Website/social links

http://www.linktr.ee/musicadispersa
http://www.musicadispersarecords.bandcamp.com
http://www.soundcloud.com/musicadispersaradio
Katalin Ladik - Water Angel (1989)

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

The work features Ladik reciting fragments of her own lyrics mixed with parts from James Joyce and Lewis Carroll, creating a real time textual collage of vocals, while accompanying herself on a self-built instrument called "zitherphone”. Into this abstract tapestry of human action - at times processed and at others left unaffected - Ladik then wove in an array of environmental field recordings with startling effect, sculpting a deeply personal, internal universe that plays against the world outside. From the LP 'Water Angels'
Soundcamp Cooperative - Wilding Radio

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

A solar powered stream that allows the listener to mix between 2 channels of air microphones and 2 channels of hydrophones.

https://wilding.radio/

An example of ecological radio, giving attention to slow processes of change on a former agricultural site, now undergoing wilding, including the introduction of beavers. The project is a collaboration between Alice Eldridge at Sussex University, Knepp Wilding and the Soundcamp Cooperative.

Knepp is a pioneering rewilding project in West Sussex.

In Feb 2022, a pair of beavers were introduced to a small brook that runs south-north through the estate. Beavers are ecosystem engineers - they coppice shrubs and trees to build dams. Their dams are already altering the flow of water and turning the small seasonal lag into a complex wetland area.

How will this changing landscape affect the local fauna? Can we hear these changes? Will the growing wetland create habitat for new species? Might we start to hear the tick of water beetles and the scrape of water boatmen? How might the changing wetland affect the behaviour of birds and mammals in the area? Might new invertebrates bring new birds? What ecological changes might new birds bring?

To find out, we have installed a solar-powered, quadrophonic live audio feed just north of the dam: A pair of hydrophones brings us closer to the sounds of the water itself and reveals the tiny sounds of fresh-water organisms. A pair of microphones in a fallen willow tree let us get to know the birds and mammals that live near and visit the water and hear the play of weather in the trees.

In the springtime, listen out for blackbirds, song thrushes and woodpeckers during the day and owls and nightingales during the night. Summer brings the turr-turring of turtle doves and the squeals of teenage piglets; the autumn, the guttural coughs and bellows of rutting deer. And, all the while, small freshwater invertebrates munch tirelessly in the stream.

Who else can you hear?

wilding radio brings art, science and technology together, to allow us to listen in and become part of long-term, positive ecological change.

Artist bio:

Soundcamp (2013–) are an arts cooperative based at Stave Hill Ecological Park in Rotherhithe and Work Shop 1 in Loughborough Junction, with members in Glasgow, Berlin, Yorkshire, Crete and The Netherlands. We are interested in diy infrastructures that can move live sounds between places and situations, and give attention to less heard human and non-human communities. Our work appears as live transmissions, workshops, sound devices and events. For a full list of activities, please see soundtent.org > news.

Website/social links

https://soundtent.org/
https://www.instagram.com/sound_camp/
Buffer Zone

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

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Klaipēdas iela (1:42)
2) Félicia Atkinson - Transparent, in Movement (8:00)
3) Alejandro Tux - Ecos de pólvora (9:34)

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Klaipēdas iela

Website/social links

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

2) Félicia Atkinson - Transparent, in Movement

From the album 'Everything Evaporate'

3) 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.

Artist bio: 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
Katalin Ladik - Spacetime Roe

10 September 2026 12:00 pm - 12:15 pm

"In 1953, at the age of eleven, I began my acting career at Radio Novi Sad, at a time when all programs—including radio plays and radio dramas—were broadcast live. The experience I gained as a radio actress later became an important source for my sound poetry works."

This work incorporates excerpts from the Hungarian-language audio archives of Radio Novi Sad (Yugoslavia, Serbia), originally broadcast on 212.4 MHz between 1957 and 2002.

Audio Engineering: Szabolcs Puha

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

Biography:

Katalin Ladik was born 1942 in Novi Sad, Yugoslavia (now Serbia) and is currently based in Budapest, Hungary where she has lived and worked since the 1990s.
Her artistic output is at once sprawling, prolific and singular. Beginning as a poet and expanding into performances in the 1970s she developed her own theatrical language which eventually came to incorporate sound and visual poetry, performance art, experimental music, audio plays, happenings, mail art, collage, and photography.
Throughout Ladik's work and particularly in her performances, the voice and the body (most often her own) converge to become a site in which the personal and political spheres overlap. Making use of diverse sources from mythic narratives to personal and everyday objects, she has consistently sought to investigate her role as a woman in her own Eastern European context, challenging dominant societal, sexual and gender norms.

She began her career with interventions on Radio Novi Sad (1963–77) and as an actress with the avant-garde theatre group Bosch+Bosch in the city of Subotica (1977–92). However, it was the publication of the record Phonopetica (1976) which drew the attention of sound poets abroad including Bob Cobbing, Gerhard Rühm and Henry Chopin who invited her to perform the Stedelijk Museum in Amsterdam in 1977, and led to her international recognition and prominence within the fields of sound poetry and visual art in which she remains active today.

She participated in documenta 14 in Athens and in 2019 the Italian label Alga Margen released ‘Phonopoetics’, a diverse survey of Ladik's audio work between 1968-1993.

"Poet, actress, and visual artist Katalin Ladik has to be considered as one of the most pioneering artists alive...Her work is bound to feminist matters in Eastern Europe and reflects the personal, social and existential difficulties that female artists must face. Recurrent dual structures and the use of sexually ambiguous figures (androgynes and angels) as well as gender-neutralising elements inhabit her work, which occasionally acquires Shamanic overtones and integrates therapeutic mechanisms of liberation."
– SoundOhm

Fragments used from the following radio plays / sound works:
1. RADIO NOVI SAD_mp3 — Pause sound, sound pause on Radio Novi Sad by Ernő Király
2. 0008 TENNESSEE WILLIAMS – NÉMETH P. ISTVÁN — Cat on a Hot Tin Roof
3. 0016 VAJK VERA — Tale of the Seven-Spotted Ladybird
4. 0019 ANTE ILIĆ — The Legend of a Thousand Paper Doves
5. 0087 COLLODI — Pinocchio
6. 0136-0122 CARLO COLLODI — Pinocchio
7. 0205-0206 GYÁRFÁS MIKLÓS — Young Ladies in the Heights
8. 0208 MIHAL TONECKI — Encounter in the Fairytale Café
9. LADIK KATALIN – FŰKETREC / GRASS CAGE — Katalin Ladik performs her own poems, 2002. WAV

The author of the interval signal of Radio Novi Sad is the composer Ernő Király
( 16 March 1919 – 14 December 2007 ).

Spacetime Roe (English Translation)

— Radio Novi Sad.
— Pistol, pistol, pistol.
— Latest report from the Korean battlefield: The North Korean troo troops have occupied three villages, villages. And never, never will anyone drop an atomic bomb on people.
— We hope so.
— The atomic bomb. They dropped it then on Hiroshima and Nagasaki.
— Isn’t that right, Tadeo Chan, you learn a lot in third grade about birds and flowers?
— A lot.
— It is already night. I am afraid.
— You needn’t be afraid, Taeko Chan, I know the way to the bus station.
— The others have already returned to the city.
— Mother thinks he is dead, but she is still waiting for him. I also think that one day my father will return to us.
— Breathe, breathe, like this. Breathe. Aha.
— “The Israeli units have entered Egyptian territory from several directions.”
— … but I am tired and my eyes hurt…
— I would like to write you so very much more, but I am tired and my eyes hurt. Another time, when I feel better, I will write you more.
— Here, here, Brick…
— Who is it? Who is it? Who is it?
— Has Mama gone?
— Nonsense! Ah…
— Brick, Brick… it’s all right.
— Pinocchio, Pinocchio, Pinocchio…
— Chirrup-chirrup, chirrup-chirrup.
— He-he-he-he.
— Radio Novi Sad… Radio Novi Sad… Radio Novi Sad… Radio Novi Sad…
— I… I… I don’t know.
— Ha-ha-ha!
— That’s a good joke, isn’t it?
— No… but I don’t think… I don’t remember. No. I don’t know. No. I wasn’t looking for you.
— Hello!
— I don’t know.
— I don’t know.
— Rifle, rifle, rifle, rifle, rifle, rifle, rifle…
— Pistol.
— I want.
— Leukemic?
— Radio Novi Sad, Radio Novi Sad, Radio Novi Sad, Radio Novi Sad, Radio Novi Sad…
— Katibul, come out!
— Katalin Ladik, Grass Cage.
— Hu, hu, hu, hu, hu… hu, hu, hu, hu hu…
— I walked among five stars, after the seventh star I bit into a carnation.
— Pale in your arms… you pour honey into me.
— Window sits. The last creeping moth. No-memory of itself. Mirror of destruction. As the first sound of creation was the vibrating sound, and every being has its own sound, its own mantra… so from the dark comes the one who speaks out of me:
“Where are you, where are you, my breathing window, healing of my shadow…”
— A dog wriggles beneath the bridge. I ask, am I moving in the right direction? Am I moving in the right direction? And it answers me in the voice of the flute. This is the voice of Satan, frozen music. This bridge, black branches, black buds… this vertigo… this vertigo… this vertigo… the vertigo…
— Radio Novi Sad.
— I look in the stone. Not there. I look in the wood, not there. I look in the stone. Not there. I look in the wood, not there.
— My life a leaping shadow. Over a low flame I extract… Behold, the first gate: its light-seed in a black coat. There is no other desert that brings death to stone but the desert of indifference. It gives its sweat to the newly arrived. It will become the two-lived shadow, the Materia Prima into which the scream moves in.
— Spacetime roe, spacetime roe, spacetime roe, spacetime roe, spacetime roe, roe roe roe roe…
— Laments, laments, laments, laments, laments, laments, laments, laments, laments, laments…
— At dawns, at dawns, at dawns, at dawn…
— Are you in the wood? I will overtake you. Are you in my death? I shall not know you.
— Again the same aching vertebrate existence, drowned light in a joyless coat. A croaking vortex of being in Indra’s net of pearls.
— I repeat: it brings about the creation of new worlds. It brings about the creation of worlds… it brings about the creation of worlds…
— This cracked wall is pregnant with sleeping sickness. Who is this wasp above me? Who is this woman whitewashing inside me? If all that surrounds me is wall, if I am a wasp and inside me this insect is human, then where do I end, where does the human begin?
— I look in the stone, not there. I look in the wood, not there. I look in the stone, not there. I look in the wood, not there.
— Radio Novi Sad.
— Few lived on that mountain. They smoked with sulphur all night long, waiting for the dawn of the Age of Aquarius. Some grave epidemic was raging in the jealously guarded Garden. With bloody wings, with burn wounds, they passed over the snowfields.
Van Luber Parensen - With Balaroa and Mr. Yotomi

10 September 2026 12:15 pm - 12:30 pm

In this work, Mr. Yotomi (72), recalls a disaster not through images but through sound: water moving beneath the ground, sudden vibrations, and the shifting of large trees around his home. These sonic memories form an underlying layer that shapes how the work is meant to be heard. Recorded in Balaroa, Palu, on a former liquefaction site now used as grazing land, the piece presents dispersed cowbell sounds moving across space. The bells mark everyday life continuing atop ground that once shifted, cracked, and swallowed residential areas. By minimising sonic manipulation, the work does not reconstruct the disaster, but invites listeners into the everyday acoustics of a post-disaster landscape. Here, sound functions as a marker of memory and spatial change—placing listeners between continuity and vulnerability, where what is heard is not collapse, but subtle resonances of land, bodies, and lives in motion.

Artist bio:

Van Luber Parensen is a transdisciplinary artist based in Jakarta. He is part of Forum Lenteng, a cultural organisation in Jakarta. His films have been screened at several national and international festivals and forums. As an artist, he works in various mediums, such as musical composition, soundscapes, painting, sketching, and collage. Since 2023, with SIGISORA, a listening initiative based in Jakarta, he has been focusing on sound-based art, both in the realm of composition practice and study.

Website/social links Instagram: https://www.instagram.com/burungkobra/
Roar Radio

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

Roar Radio is a project between Barrington Farm and sound artist, Oliver Payne. Barrington Farm hosts a rich and diverse community of Learning Disabled adults. Tucked away in rural North Norfolk, it is rich with stories, sounds and community. The purpose of Roar Radio is to create audio works that can be shared specifically via radio play to reach and connect with a wider audience. A group of Barrington Farm artists meet Oliver in their onsite sound studio every Thursday afternoon to explore sound and make music. Alongside building instruments and kinetic sculptures, field recording and foley, the group makes experimental music. Nothing is composed, everything is improvised in real time. Everything is recorded which is then either kept and shared for listening, or collected to form larger multitrack projects. Presented for Radiophrenia is a new collage of ambient scraps, found sounds, field recordings and unused music.
.

Artist bio:

Founded in 1988 in rural North Norfolk, Barrington Farm is a unique independent day services centre for adults with learning difficulties who may also have other complex physical, mental health or age – related needs. The service offers an Art Barn, working farm, sound studio, gym and sensory room. Several Barrington Farm artists such as Michael Smith, James Gladwell and Saffron Wright have had their work exhibited internationally.

Website/social links

Oliver Payne - https://olpayne.com/
Barrington Farm - https://barringtonfarm.com/sound-studio/
Radiophrenia Shorts 22A

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

1 BORȘ - vers pervers (5:06)
2 Alicia Elirena - Seeping Disharmonic Waves (9:45)
3 Viv Corringham - A walk by the lost river Walbrook (11:09)
4 Filipa da Cunha Gomes – Caustics (10:37)

1) BORȘ - vers pervers

FB: https://www.facebook.com/madalina.ciocanu
IG: https://www.instagram.com/bors.beets/

2) Alicia Elirena - Seeping Disharmonic Waves

instagram.com/aliciaelirena
www. aliciaascamera.com

3) Viv Corringham - A walk by the lost river Walbrook

http://vivcorringham.org
https://www.thewire.co.uk/audio/tracks/an-audio-introduction-to-viv-corringham

4) Filipa da Cunha Gomes – Caustics

instagram: @fiilipagomes
https://radiovaivem.pt/hosts/filipa-gomes
Radiophrenia Shorts 22B

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

1 Congee Rats - Fake Your Behaviour Life Long (6:46)

2 Gabriele Hasler - Hymn of Perplexity (3:40)

3 pxyxy - Processed Live (9:56)

1) Congee Rats - Fake Your Behaviour Life Long

https://dongzhou.live/2023/10/08/congee-rats/

2) Gabriele Hasler - Hymn of Perplexity

gabrielehasler.de
@gabriele-hasler (youTube)

3) pxyxy - Processed Live

http://www.boryeon.site
Lost in Transmission 4 - Nichola Scrutton

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

A live performance for Lost in Transmission, GMAC, 25th February, 2026. A Radiophrenia commission produced with the support of Creative Scotland.

Nichola Scrutton is a composer, artist, and performer who creates evocative experimental works through a multifaceted sound/art practice. She produces self-directed projects, and has extensive experience working in interdisciplinary, participatory collaborations. Nichola is currently an In Motion composer with Sound and Music developing new work, and has a solo release coming out in March 2026, with support from Creative Scotland.

nicholascrutton.co.uk

For each of these programmes of radio works there was an additional short voice based live performance by a local artist.
Luke Fowler - Daphne and Janet (2025)

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

2025 marked the centenary of Daphne Oram’s birth. To celebrate the occasion, sound artist Ryoko Akama and I were invited to create an installation and performance for the Papiripar Festival in Hamburg, curated by Felix Kubin, Nika Son and Florian Bräunlich. The installation was titled ELEC CELE—terms coined by Oram to describe the two forces she believed to be at play in art, as in life, and whose dialectical relationship shaped musical composition, performance and listening.

In parallel with this research, I was spending time with the 88-year-old composer Janet Beat, a contemporary and friend of Oram’s whose maverick electronic compositions, dating from the 1960s onwards, remain insufficiently known outside her adopted home in the west of Scotland. In this composition, I bring together the voices of these two composers, alongside analogue techniques, test equipment and tape recorders. Equipment and means which would have been known and available to both composers at the time.

I would like to thank the Daphne Oram Trust and Janet Beat for kindly granting permission to use recordings from their archives.

https://www.luke-fowler.com/
EAPS 3 - Languido

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

EAPS is a collective of six sound poets that respond to a prompt to create works that are gathered into a program. Prompt: Languido.

Poets:
Marjorie Van Halteren, Northern France
Joan Schuman, Northern California
Tony Brewer, Indiana
Gregory Whitehead, Massachussets
Brian Price, Indiana

Website/social links http://www.electroacousticalpoeticalsociety.com
Radiophrenia Shorts 63A

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

1 Myriam Lambert - Chants of the Pack (16:10)

2 Fastus - In A Strange Land (5:37)

3 Hans Kadensia - MORPH (6:56)

1) Myriam Lambert - Chants of the Pack

Chants of the Pack is an immersive sound work rooted in a vast winter territory devoted to sled dog breeding. It weaves together the voices of huskies, solo and in pack, the glide of sleds, the breath of snow, the forest, and the human presences of the domain. The voice of a musher moves through the space, poetically recounting his first dogsled journey across northern Canada and the birth of that passion. Between harnessing frenzy, the silence of the run, and nocturnal polyphonies akin to a wild choir, the work interlaces memory, territory, and animality in an inhabited listening experience shaped by tension, contemplation, and collective force.

Shaped through extended listening and in situ recordings, the piece invites the audience to enter a resonant threshold where landscape becomes voice, and where human and animal presences briefly merge into a shared breath.

Lambert is a transdisciplinary artist and curator based in Québec City. Her practice brings together installation, sound art, performance and writing, exploring interrelations between memory, place and temporality. Holding an MFA in Visual and Media Arts from Université Laval, she develops site-responsive works grounded in gathering sensory traces. Her work has been presented and supported across Latin America, Europe and Canada, often in locations marked by layered histories. From 2020 to 2026, she served as Executive and Artistic Director of Avatar, a centre dedicated to sound art, while pursuing research focused on listening, perceptual deceleration and spaces of refuge.

https://www.myriamlambert.ca/
https://www.instagram.com/myriamlambertqc/
https://www.facebook.com/myriam.lambert.75/

2 Fastus - In A Strange Land

Not long ago my wife and I moved from the NYC area to Beacon NY in the lovely Hudson Valley area. Being closer to nature we've been awakened to an entirely new soundscape: birds, tree fogs, crickets and other insects. I've found that the exploration of the unfamiliar can invoke both exhilaration and apprehension, that the thrill of the exotic is often shadowed by a measure of anxiety. You'll see these seemingly contradictory qualities represented in this particular journey through a "Strange Land" of exotic sounds and textures.

Composer Ian O'Brien first became acquainted with electronic music during his undergraduate years at Columbia University, home of the famed Columbia-Princeton Electronic Music Center. Having performed in various bands in the lively downtown NYC scene as keyboardist and percussionist, O'Brien, operating under the name 'Fastus' now produces and performs works made with modular synthesis. His music has appeared on assorted net-labels and has been heard on various broadcast radio stations in England and the US. "In A Strange Land" was featured in the New York City Electroacoustic Music Festival in 2023. His latest release is entitled "Into the Light."

https://fastus.bandcamp.com/album/into-the-light
https://soundcloud.com/fastus

3) Hans Kadensia - MORPH

Morph is a piece for real-time processed cello and tape. The work draws its sonic roots from particular moments in life, such as fireworks during San Juan celebrations or the clinking of glasses during a toast.
These past action sounds become the main material of the piece and are transformed to their extremes in order to convey a sense of metamorphosis, bringing memories and their clarity into a distant, breath like presence.
Hans invites the listener to adopt a new perspective on listening, offering a shared experience of how sound memories preserve authenticity, how our perception of life evolves, and how the saturation of sound and information in our contemporary world generates constant change that inexorably transforms our points of reference.
Today, time is constantly accelerating, making attentive listening more necessary than ever.

Hans Kadensia is a Franco-Canadian cellist, improviser, and experimental composer based in France.
Hans’s artistic expression transcends traditional musical boundaries, crafting a profound sensory landscape where the tangible corporality of the cello organically merges with the ephemeral digital soundscape.
Through her approach, Hans deconstructs and reimagines musical material at its most fundamental level, inviting listeners into a microscopic sonic universe where each vibration and each electronic manipulation becomes a narrative in itself.

Website : hanskadensia.com
Instagram : @hanskadensia
Bandcamp : Hans Kadensia
Radiophrenia Shorts 63B

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

4 Laura Molina - Suburbano (6:38)

5 Joseph Sannicandro - al-rambla / Las Ramblas (20:08)
6 Vincent Eoppolo - Vietnam Communique_ March 17, 1971 (3:30)

4) Laura Molina - Suburbano

Suburbano is an electroacustic soundscape whose sonority evokes a space that refers to the blurred boundary between the urban and the rural. Sounds that explore and alternate across those indistinct limits, blending everyday city life with nature, chaos with calm, and traversing a geography rich in contrasts.
This work was created exclusively from cello sounds. Each one was selected, refined, and digitally processed, and then used to build the textures that give the piece its final form

Laura Molina
La Plata - Argentina
Experimental electronic and sound artist She specializes in technological arts and holds a postgraduate degree in Applied Electronics for Art from the Universidad Nacional de las Artes. She has also studied aesthetics, curatorship, and the installation of technological artworks at Espacio Fundación Telefónica and CCEBA.
She collaborates with artists from various disciplines, creating electronic objects and installations.Her work focuses on sound art and experimental composition, alongside her studies in cello. Her pieces have been exhibited in Argentina, Spain, and Finland

https://www.instagram.com/lauriniam/
https://calathea.bandcamp.com/album/los-viajes-imaginarios

5) Joseph Sannicandro - al-rambla / Las Ramblas

Comprised primarily of recordings of rivers, fountains, aqueducts, irrigation canals, and waterwheels made in Granada (Andalucía) and Blanca (Murcia), al-rambla / Las Ramblas blurs boundaries between traditional and modern, rural and urban, Muslim and Christian, attending to the circulation of water as a means of challenging these supposed binaries. Psychogeographic field recordings were made and re-recorded in situ during a sound art residency at Centro Negra (AADK Spain), producing temporary guerrilla installations. The resulting collaged composition thus further blurs perception through disorienting layers of time and space.

Joseph Sannicandro is a writer and artist based in Montreal. He is co-founder of the music blog A Closer Listen, and producer of the Sound Propositions podcast. He co-produced the housing justice podcast Réverbérations d’une crise with Hubert Gendron-Blais. His musical compositions and sound art projects have been published by international labels, broadcast on community and internet radio stations, presented in festivals such as Montreal’s Suoni per il Popolo and Akousma, and at galleries and museums including IKLEKTIK (London), Diagonale (Montreal), the Museo del Sannio (Benevento, Italy) and the Istanbul Cinema Museum.

https://soundpropositions.com/
https://www.instagram.com/joseph_sannicandro/
https://acloserlisten.com/
https://www.instagram.com/acloserlisten

6) Vincent Eoppolo - Vietnam Communique_ March 17, 1971

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://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/
Yulia Gadalova - Domovina

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

“Domovina” is a two-part tale, a personal story turned into a metaphor. It’s a journey of a spirit between challenges and subsequent transition to the new level of consciousness told in a form of a sound experience.
For the artist, “Domovina” has become a therapeutic way of going through a life crises and leaning to let go by saying goodbye to her earlier life and her earlier, or maybe, outdated self that she can no longer connect to in a creative process.
Due to the artists’ strong connection to nature and culture, the outside world plays a big role in the story, with nature’s creatures and surroundings being at heart of the main characters’ transition and transfiguration.

Artist bio:

Yulia Gadalova is a media artist working with sounds, technology and interactivity.
With her works across both physical and digital domains, Yulia has participated in exhibitions and festivals locally in Russia and Armenia, as well as internationally, and has worked both independently and within multidisciplinary and international teams.
Informed by migration and exploration of tradition, in her works, Yulia blends together traditional knowledge and contemporary technology.

Website/social links

https://soundcloud.com/nighteditor
https://www.behance.net/nighteditor
https://www.youtube.com/@nighteditor6036

The doom of her thoughts. A tale (English translation)

I once knew a girl. She lived in a small village that
floated upon a vast whispering swamp. There were just
three houses there, perched on a hump of land, but the
girl's family had no home. So the girl, with her bare
hands, tried to build one.
She worked from dusk till dawn, But the swamp was
hungry. One side of her tiny wooden home kept sinking
into its soft, greedy belly.
The girl wandered the swamp each day, searching for
shrub and moss. Bit by bit, she pressed it under the
house to keep it from tilting. But it was never
enough.
Still, she kept walking, wading, whispering-talking to
the creatures of the swamp. Frogs, birds, shadows,
things with eyes that glowed at dusk. Oh, how many
stories they told her and the girl listened. The
stories filled her. They became hers.
Collecting shrub and moss was hard work, and she knew
- one day she would have to go outside the swamp in
search of more shrub and moss. The only thing she
regretted was - she would no longer be able to listen
to the creatures. No longer gather their tales.
She longed to leave the swamp... but not to gather
shrub.
She wanted to share the stories.
One day, a hermitess came to her door. A woman with
long braids and wisdom in her eyes.
"What are you looking for, stranger?"
"I came to learn about life in this swamp."
So the girl told the hermitess everything. Stories of
winged creatures and ancient stones, and secrets
whispered through the reeds.
“You have a gift,” the hermitess said.
“Come with me. I will teach you to use it. You will
serve a higher cause. You will share your stories with
the world.”
The girl really wanted to go and share her stories
with others. But...
“I cannot go,” she whispered.
“If I leave, the house will sink into the swamp’s
soft, greedy belly. And my family will have nowhere to
live.”
And so the hermit walked away, and the girl returned
to the swamp, searching for shrub.
Another time, a jestress came to her door. A woman
with bells on his shoes and laughter that didn’t reach
her eyes. The girl told the jestress all stories. The
jestress listened, smiling.
"You are so talented, girl," he said. "Come with me.
We’ll find a new queen to serve. You’ll tell your
stories in golden halls."
"I cannot go," the girl said. "I need to find more
shrub and moss. Otherwise, my home will slide into the
soft and greedy belly of the swamp."
"Don’t you worry, girl. I promise you - when you
return, your house will stand tall and never sink
again."
"Are we going to be absent for long? I cannot
leave..."
"You’ll be back after one hundred and one days. And
when you return, your home will be safe and will never
slide into the swamp’s belly again. That, I swear."
The girl hesitated—but her heart burned to go. And so
she took the jestress’ hand, and together, they walked
the swamp roads.
"How will we find a new queen to serve, Jester?"
"We will stop at every village, and you will tell your
stories. The word will spread, and a queen will summon
us to her court."
"But Jestress, what if no king calls us? Someday I’ll
just run out of stories."
"Didn’t I tell you, your home will be safe, girl? Does
anything else matter after that?"
So the girl and the jestress wandered endlessly around
the swamps. They went from village to village.
At every stop, the girl told her stories.
And people listened.
And the jestress took coins behind the girls back.
Days passed. Then weeks.
And slowly, her stories began to run dry, as well as
her talent and her energy. She wandered aimlessly,
with no strength left to even look ahead of her.
On the hundredth day, she told her final tale. Her
voice cracked. Her hands shook. Her eyes blurred with
exhaustion.
The next day, she stopped. Not even stopped - she fell
to her knees, too tired to walk. She looked up - and
found herself back in her own village, the one she had
left one hundred and one days ago.
The three houses still stood on the hump of land.
With impatience, she turned her eyes to where her
little house once stood. She would be so happy to see
it standing firm on the foundation the jestress had
promised her to fix.
This, the girl thought, would be the one thing to give
her a reason to keep going.
But… the little wooden house stood dark and empty…
with one side sunk deep into the soft greedy belly of
the swamp.
The girl felt deceived. She trusted the jestress and
believed she would return to something strong, but
nothing changed.
The girl was broken. She had nothing left to lean on.
Hollow. She lost her home, and her stories also left
her for good.
Everything started spinning around her - the dear
swamp creatures, the swamp itself, the three houses on
the hump, the jestress’ face, and her tiny wooden
house… It all blurred into fog, which clouded her
thoughts and her spirit.
She closed her eyes and surrendered. She fell, and
slid into the doom of her thoughts.
The swamp creatures saw her breathless body, and they
mourned. Though it was hard, they put all their
strength together to lift the house out of the swamp.
They found two big sticks, poked them into the ground,
and placed the tiny wooden house on top, to stop it
from sliding. At least for some time.
They called this place Domovina — a burial site for
the girl’s body.
They carried her body there in a slow procession. Then
laid her body inside the Domovina, and set it ablaze,
saying goodbye to the little girl as she traveled
between the worlds.
And as the fire swallowed the wood, and the girl, and
her stories, they whispered their farewells.
A long time passed before the fire went out. Both the
house and the girl’s body were gone.
She wandered too far and became a Slave of Doom.

Yulia Gadalova. 2026
Buffer Zone

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

1) Vanessa Rossetto - bigger than life (2:10)
2) Serkan Sevilgen - Transfigured Walls (8:14)
3) Yulia Gadalova and Anika Krbetschek - Surb/Holy (8:14)
4) Tony Morris – Sympatico (1:00)

1) Vanessa Rossetto - bigger than life

From the album 'The Actress'

Biography:

http://www.musicappreciationrecs.com/
https://vanessarossetto.bandcamp.com/

2) Serkan Sevilgen - Transfigured Walls

Binaural, fixed-media computer music piece. During the COVID-19 pandemic, composers and musicians persevered in producing new works. However, since the only distribution channel is online, we lost the ability to create multichannel music so that we can design a spatial experience in physical venues. In this fixed-media piece, I deliberately target the audience who consumes music with earphones. I used Csound’s HRTF (Head Related Transfer Function) opcodes to create a virtual binaural space where I can specify the dimensions of the room, reflection coefficients of the walls, floor, and ceiling. The listener would enjoy the 3D soundstage with moving sounds in all dimensions.

It was presented during the Share the Sound Concert (2020) and Tehran International Electronic Music Festival (2022)

Artist bio: Serkan Sevilgen is an Istanbul-based computer programmer, electroacoustic music composer, and researcher. He is the co-founder of the sound art initiative Soundinit; co-founder of the MIAM Gendy Ensemble, which investigates the relationship between roles of the instrument builder, the composer, the performer, and the audience; and founder of the networked telematic music ensemble WORC. His musical works and research focus on algorithmic music, machine learning, multichannel diffusion, sonification, networked music systems, web audio, live coding, stochastic procedures, and soundscapes. Sevilgen has presented his works at various international events, including ICMC, NIME, SMC, ISMIR, the Xenakis Networked Performance Marathon, and the New York City Electroacoustic Music Festival.

Website/social links https://serkansevilgen.com/
https://www.instagram.com/serkansevilgen/
https://www.facebook.com/aserkansevilgen/
https://www.youtube.com/@SerkanSevilgen

3) Yulia Gadalova and Anika Krbetschek - Surb/Holy

Synopsis of piece: “Surb/Holy” explores a language of reconnection between humans and nature, where memory and emotion are transmitted through sound and space. The work seeks a form of two-way communication between equals, something largely absent in Westernized languages rooted in consumption and the objectification of nature.

The piece features the voice of Armenian woman Heghine Khachantryan, singing to a newly planted tree at the Genocide Memorial in Yerevan. This recording was then repeatedly played back and re-recorded at a prehistoric ritual stone site in Armenia’s Shirak region. Through this iterative process, the ambient acoustics of the site - its resonances and delays - became interwoven with the original sound.

In her songs and prayers, Heghine daily addresses the poet Hovhannes Shiraz, who gave voice to the Armenian spirit and collective grief. For this reason, the recordings are further arranged with resonant frequencies captured using the same method in Shiraz’s house in Gyumri.

Artist bio: Yulia Gadalova and Anika Krbetschek, artists and researchers from Gyumri and Berlin, are connected by a shared interest in the physical and internal landscapes of memory. They merge their research materials into embodied sound experiments, blending contemporary art with collective cultural traditions.

Website/social links anikakrb.com
https://www.instagram.com/anikakrb.art/
https://www.behance.net/nighteditor
https://www.instagram.com/nighteditor_music/

4) Tony Morris – Sympatico

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

Harry Josephine Giles and Callie Rose Petal (ⁿᵒᵗBorges) - Attis In Caledon

10 September 2026 6:00 pm - 6:15 pm

This experimental Scots translation of Catullus 63 tells the story of a young athlete driven mad by the Mother Goddess, driven to become an orgiastic priestess in the wild mountain woods, in a cacophonous reimagining of the Latin classic as a trans hymn to the Caledonian Forest. "Attis in Caledon" uses the full force of Scots to create a contemporary version of galliambic metre, the ancient poetic form of Cybele's centuries-long trans priesthood, and the poetry is complemented by original music and archival material woven together into a new work of noise alchemy. We ran through the ancient pines of Coille Choire Chuilc in the foothills of Beinn Os to bring you this magic.

Words and Performance by Harry Josephine Giles, Music and Sound Design by Callie Rose Petal (ⁿᵒᵗBorges)

A Radiophrenia commission produced with the support of Creative Scotland.

Harry Josephine Giles

Harry Josephine Giles is a writer and performer from Orkney, living in Leith. Her latest book is the poetry collection Them! (Picador 2024). Her verse novel Deep Wheel Orcadia (Picador 2021) won the 2022 Arthur C. Clarke Award for science fiction book of the year. Her poetry collections The Games (Out-Spoken Press, 2018) and Tonguit (Freight Books 2015) were between them shortlisted for the Forward Prize for Best First Collection, the Saltire Prize and the Edwin Morgan Poetry Award. Her stage show of her poetry sequence Drone toured internationally in 2019, and the performance of Deep Wheel Orcadia toured in 2025. She has a PhD in Creative Writing from the University of Stirling.
http://www.harryjosephine.com

Callie Rose Petal

Callie Rose Petal is a multidisciplinary conceptual artist and semiotician. Her experimental praxis spans noise composition, durational performance and ritual installation, software development, language art, and mixed media visual works in an immersive amalgamation of personal mythopoesis. Her work engages distortive breakdown as compositional force. As in her broader conceptual multiverse of Lexicomythography, loss, grief, and otherness emerge as structural generators of affect and form. Her work is informed by her lived experience as a disabled trans woman and trauma survivor.
Félicia Atkinson - Wilhelmina, Glaciers Chasms

10 September 2026 6:15 pm - 7:00 pm

Following her commissioned pieces Ni Envers Ni Endroit Que cette Roche Brulante (INA GRM 2022) and Thinking Iceberg (CTM 2024), the French composer Félicia Atkinson comes back to her interest for nature and its preservation, as well as her interest in painting. Wilhelmina, Glaciers Chasms, is an electro-acoustic piece for voice, field recordings, fender rhodes and electronics, inspired by the paintings of Wilhelmina Barns-Graham, especially ‘Glacier Chasm’ from 1951.

Transparencies, blue and grey, super-positions, free forms, resonance and sustains will infuse in this new electro-acoustic piece dedicated to the XXth century female Scottish painter.

A Radiophrenia Live-to-Air commission first broadcast on 23rd November, 2025. Recorded live at the Glad Café, Glasgow.

Biography:

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The french electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, midi instrumentation, and snippets of essayistic language in both french and english.

Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Atkinson lives on the wild coast of Normandy and has played music since the early 2000s.

https://www.shelter-press.com/felicia-atkinson/
https://feliciaatkinson.bandcamp.com/
Morten Poulsen A Different Set of Ears: The Egholm Alliance

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

A Different Set of Ears: The Egholm Alliance is a sonic art project and audio essay that takes its point of departure in the Danish national government’s controversial decision to build a highway across Egholm – a rural island located in the Limfjord waters near the city of Aalborg. Egholm is often promoted by the local municipality as a calm and silent refuge, and as a unique natural setting just outside the post-industrial urban periphery. The island is home to much animal and plant life that will be greatly impacted by the mega-project Egholmlinjen. In this audio essay, Morten listens together with the island – its inhabitants and local citizens who organize against the highway, but also the fauna and flora – including a very special willow tree. Weaving together a post-human sensation of entanglement, the audio essay proposes a change in our listening position.

A special thank you to F.eks., Radio alHara, Huset i Hasserisgade, Korma, Louise Faber, Henrik Mørch, Rosanna Børsting, Henrik Sakstrup, Urt Willemoes, Annika Holmes, Marilia Fotopoulou, Thomas Munk-Petersen, Bente Jensen, Mikhail Karikis, Scott William Raby, Rikke Ehlers Nilsson, and the plants and animals that inhabit Egholm.

Artist bio:

Morten Poulsen works at the intersections between sound art, artistic research, social engagement, and activism. With sound, listening, and participatory-based processes, he explores socio-political structures, often focusing on gender, power relations, climate crisis, and the ways in which they intersect. His artistic work has been shown across different art institutions such as The Engine Room (London), Radio Alhara, Kunsthal Aarhus, SixtyEight Art Institute, and c4 projects in Copenhagen (DK). His artistic research has been presented at CTM Festival, Berlin (DE), Trans+ Virtual Center of Excellence, London (UK), and PARSE Biennial for Artistic Research, Gothenburg (SE).

Website/social links

Website: http://www.morten-poulsen.dk
Instagram: https://www.instagram.com/studiomortenpoulsen/
Hans Kuzmich - Radiant Center

10 September 2026 7:45 pm - 8:30 pm

"Radiant Center" was created during a residency at the Nida Art Colony on the Curonian Spit, a UNESCO World Heritage Site whose unique dune ecosystem is bisected by the Russian-Lithuanian border. The work draws from two months of field recording using radio receivers, hydrophones, and contact microphones to capture transmissions and vibrations propagating through sand, water, soil, trees, and border infrastructure, revealing how security apparatuses and environmental forces co-constitute this disputed terrain. Originally a four-channel sound installation, "Radiant Center" is presented in stereo for Radiophrenia.

Artist bio:

Hans Kuzmich is a Belarus-born, Los Angeles-based artist whose work in transmission arts, media installation, and performance investigates gender as an interface between subjects and the state. Currently completing a PhD in Film and Digital Media at the University of California, Santa Cruz, Kuzmich holds an MFA from UCLA and a BFA from Cooper Union. Recent exhibitions and residencies include Sonic Nomads, Seoul; SPAM New Media Festival, Seattle; Sound + Environment, Newcastle upon Tyne, UK; Nida Art Colony, Lithuania; Wave Farm, Acra, NY; Vermont Studio Center, Johnson, VT; Studios at MASS MoCA, North Adams, MA; and SOMA, Mexico City.

Website/social links https://hanskuzmich.info
@hanskuzmich (IG)a
Andrea Rickhaus - Rates And Vibrations Of Granular Levels

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

Rates And Vibrations Of Granular Levels explores divergent temporalities within production processes. While industrial machinery crushes, sorts, and processes stones at high speed in gravel plants, rivers simultaneously erode rocks into sand grains over geological timescales. The co-existence of these contrasting temporal structures generates a desynchronization that Hartmut Rosa diagnoses in accelerated production processes.

The soundpiece was performed at the opening of Memory & Sustainability at Bern University of Applied Sciences. It integrates field recordings from a Swiss gravel plant, gravel pit, and underwater captures from the Aare River in Bern—digitally processed through modulation, fragmentation, and granulation. During the live performance, these processed materials were combined with synthesizer and stones collected from the river, live-modulated using contact microphones and effect devices.

The piece is conceived as a circular composition that alternates between industrial dynamics and geological time, exploring varied textures and movements of material transformation while seeking moments of resonance.

Artist bio:

Andrea Rickhaus completed her Bachelor in Stagedesign at the Hamburg University of Fine Arts and her Master in Art Education at Bern University of the Arts in 2019. Her artistic practice has shifted from physical-material work towards the acoustic-auditory realm, with music now at its core. She explores tension fields through spatial compositions, translating textures and materialities into sound – moving between the in- and the outside, between improvisation and choreography. Her work challenges binarities, navigating co-existence of contrasting states and temporalities. Rickhaus teaches at Bern Academy of the Arts and is currently producing her first EP as Etna ROM.

Website/social links

Website https://andrearickhaus.com/
Soloproject https://etna-rom.space/
Instagram Andrea Rickhaus https://www.instagram.com/arckhs/
Leah Crosby - Three Times as Tightly

10 September 2026 9:00 pm - 10:40 pm

Three Times as Tightly uses adaptive and maladaptive characteristics of 3 aquatic animals to explore attachment, spooky ghosts, personality formation, queerness, and belonging. It was written and performed by Leah Crosby, mixed by Tom Stiles, and funded by the Arts Initiative at the University of Michigan. 1) AnglerFish 2) Axolotl 3) MarineIguana Artist bio: Leah Crosby makes work about care and human connection. They are a daydream creator interested in the empathetic potential of fantasy, the use of play and pleasure, the activation of public spaces, and designing participatory events. With cheeky humor and a flair for the devastating, they use audio, performance, text, sculpture, and games to make story-centered work that is hilariously sad. They are currently based in Seattle, WA where they collaborate regularly with Heap Troupe, Alyza DelPan-Monley, Hannah Simmons, and Ari Kaufman. Website/social links leahcrosby.cargo.site @kanosardeenz
Farah Azrak & Dima Mabsout - Call For Humbaba - for radio.

10 September 2026 10:40 pm - 11:00 pm

Call for Humbaba is a radio incantation summoning the lost guardian of the Cedar Forest. In the Epic of Gilgamesh, Humbaba is slain and the sacred forest felled to build the gates of Uruk—an early myth of extraction and ecological violence. Five millennia later, Lebanon’s cedars, once vast and revered across ancient texts, survive only in fragmented reserves and are increasingly endangered by accelerating changing climate. This broadcast transmits a call across time. Drawing from Tablet V, which vividly describes the forest’s ancient soundscape, the work reconstructs an acoustic cedar grove through layered samples, field recordings, and archival readings in Sumerian, evoking echoes of a landscape that no longer exists. By sending this signal into the airwaves, the piece asks whether sound can find and reawaken the guardian spirit, Humababa, for it to return and guide us through the thicket of our times.

Artist bio:

Farah Azrak is a transdisciplinary polyvocal artist from Syria, venturing into performance, voice, sound, poetry, collage by interweaving processes and perceptive pedagogy. Coming from the field of somatics and her love for ecology, her work pivots around the body and voice through relational fields of inhabited environments and extended imaginaries.

Dima Mabsout is a Lebanese multidisciplinary artist and social practitioner whose work explores land, extraction, memory, and landscape as living archives. Across film, performance, installation, and material practices, she engages collaborative, research-driven projects that blend ritual, experiment, and ancient narratives with contemporary climate and ecological concerns.

Website/social links

Farah -- https://farahazrak.cargo.site/ ; https://soundcloud.com/farah-azrak
Dima -- https://dimamabsout.com/
Radiophrenia Shorts 38A

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

1 berni m janssen - weetootla (15:00)
2 Ariel Mioduser - Horas (Hours) (4:44)

3 M. Cristina Marras - A woman in her 30s (3:01)

4 Costas Frantzis - The Pebble (12:06)

1) berni m janssen - weetootla

Weetootla is on the unceded lands of the Adnyamathanha people, in the Gammon Ranges, Australia. The work, Weetootla incorporating field recordings, Adnyamathanha language and text, acknowledges the ongoing connection of the Adnyamathanha to Country.
This is a place of ancient time, people, culture, land, rich in flora and fauna. Here time collapses; here and now, then and was, all mingling. Land worn down holds a great strata of stories. Always multiple ways of reading the place. In this ancient timeline our own living a speck.
As settlers, how do we find a way to relate to, form a relationship with, this place, and with the original people of this land, beyond our preconceptions? How can we allow ourselves to be disrupted, to open, to experience other ways of being, listening? What does it mean to “be in place’?

Field recording (Weetootla Gorge). Text. Spoken Word. Composition. berni m janssen

Instagram beejaytrix

2) Ariel Mioduser - Horas (Hours)

Horas (Spanish for “Hours”) is a sound work built from recordings of emblematic church bells across the city of Rosario, Argentina, originally captured by Emiliana Arias Silva. The composition unfolds as a nocturnal sequence, evoking a sleepless night in which time advances hour by hour, each interval punctuated by the recurring toll of bells. Throughout the piece, a steady, regular sound persists, marking the idea of passing seconds as a constant pulse that reinforces the awareness of time’s flow. Rather than narrating events, the work dwells on duration itself: the suspended state in which nothing occurs while time continues to move forward. Horas articulates a tension between impatience and resignation, between the desire for change and the acceptance of temporal inevitability. The bells function as temporal markers and psychological triggers, pointing to an existential condition in which time persists regardless of action, intention, or outcome.

Born in Argentina. Currently living in Jaffa, Israel. I am a media artist specializing in sound art, music, animation, and digital painting. My sound works encompass the use of field recordings and my voice, both in its natural state and electronically manipulated. My visual creations are based on the pixel as the fundamental unit of digital art. By blending visuals and sound, my art offers a unified experience.
Over the years, I have participated in various festivals, group and solo exhibitions, as well as broadcasts and shows.

https://arielmio4.wixsite.com/website

3) M. Cristina Marras - A woman in her 30s

The tension is palpable: the writer furiously pounds the keys of the typewriter searching for the perfect setting for the story she wants to tell, but inspiration is slow to come. Yet with every attempt, the environment becomes vividly clear, if only the phone would stop ringing! Immerse yourself in a cinematic sound tour de force, and you too will feel as if you are there, on a warm, humid night filled with cicadas, peeking over the shoulder at what the fingers are tapping on the keys of the old typewriter. Created for Audio Flux 06 [creative tension].

I'm an indigenous Sardinian from an island that pushed me to travel young (10 years in Germany, 20+ in Australia), then back home. Moving through cultures sparked my fascination with how memories shape places and how sound shapes memories and belonging. Working at national radio during the podcast boom let me experiment with immersive sound narratives. Now an independent producer, when I'm not playing the hustle game, I use my time collaborating with fellow creators worldwide, using audio to weave connections between people, places, and experiences.

http://www.cristinamarras.com
https://www.linkedin.com/in/cristinamarras
https://www.instagram.com/addressapproximate
MY PORTFOLIO https://www.canva.com/design/DAG8C0iwIu4/apRjKmGPkXcCNDmKaONAUg/view

4) Costas Frantzis - The Pebble

The pebble is a soundscape composition that begins with the imaginative moment in which a pebble “falls asleep” and is carried along by the currents of the sea. At the heart of the composition, the stone is examined as a sound-producing source, where its rigid material, through various processes, acquires mobility, rhythm, and sonic textures suggesting fluidity, fragmentation, and swirling motion. The resulting sound material is sometimes presented independently and sometimes embedded within field recordings, inviting the listener to immerse themselves in an imaginative and mysterious soundscape.

Costas Frantzis is a musician and sound artist based in Greece. He is a member of the Hellenic Electroacoustic Music Composers Association (HELMCA). He explores music and sound through various creative projects and collaborations with artists in the broader field of performing arts (theatre, dance, performance art, interactive audiovisual installations, etc.). In 2016 he founded Kentro Artistic Group together with director Eleni Parginou.

https://www.facebook.com/costas.frantzis.5
https://soundcloud.com/kostas-frantzis-933374300
https://costasfrantzis.wixsite.com/costasfrantzis
Radiophrenia Shorts 38B

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

1 Martín Matus Lerner - Más Allá (8:07)

2 Eduardo Espinosa - Water, metal and stuff (4:40)

3 Jamie Perera & Felipe Viveros – ManifestX (10:32)
4 Water Feature - Various Birds - bearded wren (1:05)

1) Martín Matus Lerner - Más Allá

Sound poetry with electronic media based on the poem "Beyond Now" by Jayce Salloum. Soundscape of a future past. Composition by M. Matus Lerner. Voices of Perla Ibarra Montes de Oca and J. Salloum.

Martín Matus Lerner: electronic musician and sound artist, his research and creative focus includes the design of interfaces applied to music, electronic instrument making, and experimentation with "oblique technologies" (low-tech, circuit bending). He holds a degree in Electroacoustic Composition from the National University of Quilmes (UNQ), where he teaches undergraduate and graduate courses and conducts research. He also holds a Master's degree in Electronic Arts (UNTREF). He was the founder and director (2019-2025) of the Master's Program in Sound Art (UNQ).

https://linktr.ee/matuslerner

2) Eduardo Espinosa - Water, metal and stuff

Water, Metal and Stuff is an immersive study of textures and elemental collisions. Built from original field recordings and studio experiments, the piece explores the tension between the organic fluidity of water and the rigid, resonant properties of metal. Through a series of sonic vignettes, the work investigates how these materials interact, corrode, and dialogue with one another. In the context of our current ecological crisis, the piece serves as a reminder of the raw materiality of our world—often overlooked in a digital age. Designed as a pure radio-art experience, it utilizes the medium’s unique ability to decontextualize sound, turning everyday "stuff" into a complex architectural landscape of vibrations. It is an invitation to listen closely to the friction between the natural and the man-made.

Eduardo Espinosa is a Colombian composer and sound artist working with acoustic material, electronic processes, and structural transformation. His practice focuses on timbre, resonance, and the gradual destabilization of recognizable sonic materials, often combining traditional instruments with synthesis and layered processing. He holds a Master’s degree in Composition from Ohio University. His work has been presented at Radiophrenia and broadcast on Resonance FM. He is particularly interested in radio as a space for concentrated listening and perceptual transformation.

https://www.linkedin.com/in/eduardo-espinosa-composer/
https://soundcloud.com/duardospinosa

3) Jamie Perera & Felipe Viveros – ManifestX

ManifestX queers the binary of the word “Manifesto”, in non-fixed statements and non-linear works exploring identity in the Capitalocene. It was initiated in “Identity Dialogues”, a series of conversations with Felipe Viveros and Jamie Perera, and extended to artists in activist, queer and ecological communities. ManifestX makes the compelling case for reclaiming identity as a spectrum of manifestations that rebel against colonial categorisation and celebrate interconnectedness through the lens of non, pre, and post form. It is based on the conviction that opening horizons beyond capitalist realism and catastrophism requires rewilding of its toxic imaginary and limited vocabulary, extending what it means to be human, including as part of the more-than-human world. Jamie, Felipe and other collaborators create artistic works that expand on the positions of ManifestX as an ongoing provocation.

This piece is a sound meditation on identity in flux, in emergence through different states of being.

Jamie Perera is Jamie Perera is a composer, sound artist and producer from East London. His work is inspired by transformation in the Anthropocene, with themes that juxtapose nature, people, places and timescales. He combines electronic and post-classical production with field recordings, data, and video.

Felipe Viveros is a British-Chilean writer, independent researcher, artist and strategist. Felipe's work focuses on the intersection of movement building, digital storytelling, policy and systems change. Felipe holds an MsC from Schumacher College and is a member of the UN Harmony with Nature initiative.

https://www.instagram.com/jamie_perera/
https://www.instagram.com/nawelcura/
https://www.jamieperera.com/

4) Water Feature - Various Birds - bearded wren

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