Hyper H 01

Pierre Ajavon (France) – Lost Garden, 2018, 4:16
“In the age we live in, we must confront the mistakes we have made in our relationship with nature, and we cannot predict what tomorrow might bring.
This uncanny experience is also the source of the suspense dominating Pierre Ajavon’s film.
The circular form at first reminiscent of the anthropocentric practices of surveillance/government temporarily leaves the sense of control to the spectator.
But as it slowly transforms into the image of the planet combined with the auditory elements such as the gong, the heartbeat and the Geiger counter, we realize that
our concerns for the future are not groundless”.
Ipek Yeginsu (curator of “Co-Generation exhibition / Mine Sanat Gallery, Istanbul //Turkey, 2022).

Pierre Ajavon
(b. 1966, Paris) is a visual artist, composer & musician. He lives and works in Paris (France).
Ajavon studied sociology and ethnomusicology with a particular focus on psychedelic culture, and he embraced video art as his main medium as it allowed
him to combine image with sound.
His works appeared at art institutions such as Fondazione Ragghianti (Italy), Royal Scottish Academy (Scotland) as well as events like Cairotronica (Egypt) or MADATAC (Spain).
Pierre Ajavon is also a musician and composer, and references to psychoanalysis and surrealism as well as the study of the relationship between pop imagery and
sound constitute the backbone of his artistic practice.

Antonio Alvarado (Spain) – Global madonna. Madonna globale, 2020, 14:59
The global village, global folklore, global pollution, the global pandemic. In the global era, more than ever, individuality disappears. Myths are copies of other myths, often deformed. They are disposable myths.

Main collections:
– San Fernando Museum of Fine Arts. Madrid.
– CAC. Center of Contemporary Art of Malaga.
– Zapadores City of Art Museum and La Neomudejar. Madrid. .
– Calahorra Town Hall Museum – La Rioja.
– Elisa Cendrero Museum – Ciudad Real.
– Univerzitetna knjižnica. Maribor. Slovenia.
– TradingScreen (financial technology). New York.
– Madrid Athenaeum.
– Camargo City Council (Cantabria).
– City of Madrid.
– Móstoles City Council (Madrid).
– Cabrils City Council (Barcelona)

Tristan Burfield (UK) – Extinction Loops I, 2020, 13:14
Liza Read’s Extinction World (featuring audio by Tristan Burfield) for Mars & Beyond Exhibition @ Bargehouse, Oxo Tower Wharf, South Bank, London took place on the 20th February 2020 – 15 March 2020. My soundtrack contribution uses repeated tape loops of pitched field recordings which were sped up and down to produce rhythmic effects (recalling the early primitive tape experiments of experimental electronic music composer Pierre Henry). Manmade, natural and industrial sound sources converge in a timely manner with the intention of celebrating the diversity of our natural world against the backdrop of an increasingly polluted industrial soundscape.The ticking clock serves as a timely reminder that time is running out for climate change. Front Cover photo of Liza Read’s Extinction World by Liza Read.

Myriam Bessette (CA) – Yoki, 2024, 04:55
Interwoven throughout the soundart are modulated field recordings that weave an intricate tapestry of human interaction during a solar eclipse, reminding us of our connection to the broader web of life.

Myriam Bessette (CA)
With a background in visual arts, Myriam Bessette explores drawing and sound sampling, which she transforms and animates using technological tools. Her works, rhythmic and synesthetic, generated by elements captured in perpetual permutation, reconcile the traditional character of the unique and eternal work of art with the contemporary one, marked by recycling and the great variability of data. She works with electronic reality to offer us always surprising sonic proposals. Myriam Bessette lives and works in Montreal.

Nicola Cappelletti/ Nicola Fumo Frattegiani (Italy) – SantAnna Capsule N.1, 2023, 4:55
This piece is crafted from environmental recordings in Sant’Anna Park, Perugia, Italy, using binaural microphones. The park’s unique mix of natural and urban sounds is explored through six distinct areas, each chosen for their specific timbral qualities, creating interconnected acoustic ecosystems. Human interaction with park structures generates mechanical sounds, which are then processed using self-convolution techniques to enrich the soundscape. These processed signals form the structural basis of the composition. The piece evolves by sequentially and simultaneously
engaging the six areas, offering listeners an immersive, dreamlike journey that oscillates between reality and an internally mystified dimension.

Nicola Cappelletti is an electroacoustic sound artist, performer and composer. He graduated in electronic music, with honors and honorable mention, at the Conservatory in Perugia. Winner of the XV National Prize of the Arts, his artistic research focuses on the relationship between acoustic sound and electronic treatment in relation to audiovisual works, theater and contemporary poetry. As a performer his activity ranges from popular music, with forays into rock and club music, to concerts of radical improvisation for prepared violin and live electronics. He is a member of the Opificio
Sonoro ensemble.
Nicola Fumo Frattegiani is an electroacoustic and audio-visual composer living in Perugia, Italy. His works have been presented at various national and international festivals. Author and performer, his research deals with electroacoustic music, sound for images, video, art exhibitions and compositions for theatrical performances. He is a Subject Expert in “Electroacoustic” and “Computer Music” at the Conservatory of Music of Perugia. He held the chair of Electroacoustic Music Composition at the Conservatory of Music of Messina. He is currently professor of Sound design at the Academy
of Fine Arts in Macerata.

Osvaldo Cibils / Colectivo Masai Autónomo (Uruguay/Spain) – bodies of negative survival triptych – 1 tree with hammer, 2024, 15:00
Series of critical sounds created with everyday artificial intelligence resources as a reflection of human behaviors.

osvaldo cibils / colectivo masai autónomo
osvaldo cibils 1961 Uruguay. Artistic actions and experimental projects.

Feliciano Chiriaco (Italy) – Vacuus, 2017, 5:34
“Spinning around and getting lost in the dark vacuity, confused by the total lack of importance and feeling.”

Feliciano Chiriaco (Italy)
Feliciano Chiriaco, italian electroacoustic composer, earned a II level degree in Electroacoustic Musical Composition from the Conservatory of Foggia in 2022. His works have been showcased at prestigious international festivals including NYCEMF, Muslab, SoundImage, REF and others. Chiriaco’s collaborations span notable projects with SIAE, MiBact, and Emilia Film Commission. He founded and directs the REF – Resilience Festival since 2021, held annually in Foggia. Currently, he teaches Electroacoustic Musical Composition at the Fermo Conservatory (Italy). Chiriaco’s multifaceted career encompasses sound engineering, composition, and educational endeavors, enriching the contemporary electroacoustic landscape with his innovative creations.

Jan de Weille (NL) – Steeds warmer, 2024, 4:55
The work has been created by two boxes receiving a RADAR signal reflected by a rocking beer bottle suspended on a wire.

Jan de Weille (NL)
d) Jan de Weille is a sound artist/biologist that creates his works both by programs of his own design and by using electrical signals emanating from organs or living animals. He has contributed to events as diverse as the Aqua Art Sound Broadcast in Miami, the Transrevelation concert in New York and the Waterwheel internet performance curated by Suzon Fuks, Brisbane, amongst others.

Boris Donkson (UK) – Polyethylene Paradigm, 2024, 9:36
Polyethylene Paradigm is a sonic triptych that explores our complex relationship with plastics. The piece consists of three movements: Crinkling Tapestry, Symphony of Discarded Dissonance, and Ingestion and Echo. The first movement uses layered recordings of crinkling bags, packets, and wrappers to create a textural soundscape, highlighting the brittleness, rustle, and crackle of plastic. The second movement takes the listener on a journey dominated by discarded gestures, transforming into the chirps and clicks of insects and birds. The third movement, Ingestion and Echo, plunges the listener into a soundscape of escalating dread, highlighting the impending plastic Armageddon.

Domenico de Simone (Italy) – Hypnos, 2019, 07:01
Hypnos and Thanatos, Sleep and Death. Death mirrors Sleep, because it is the latter that interacts with life; it is life itself, while Death represents its mirror opposite: life is mirrored in Death. Now Hypnos is introduced … Thanatos can wait.
Starting from the sounds recorded on the lakeside of the town where I was born, I imagined what the soundscape will be in the future.

Domenico de Simone
Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni at the Accademia Chigiana in Siena.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, etc.).

Chad Eby (USA) – syntheticEcologies, 2024,10:59
A granular meditation on surplus and loss at the periphery of latent space.

Marco Ferrazza (Italy) – Gate Tale, 2023, 6:04
The presence and passage of human being is manifested through countless acoustic signs that permeate distant places even over time. The work is inspired by the idea of the extended present, expressed in a real possibility of simultaneously proposing “soundscapes” distant from each other in space-time. The illusion of being able to cancel temporal and physical distances is made possible by
the compositional practice, which starts from a research and selection of materials present in the author’s personal sound archive.

Marco Ferrazza (Italy)
Marco Ferrazza is a non-traditional training composer, creator of electroacoustic and audiovisual works, as well as a performer of experimental music. He composed several acousmatic pieces which have been performed on various exhibitions and international festivals. In his work he combines electronic music, visual explorations, experimental soundtracks and free improvisation.
One aspect of his sound research is aimed at recovering the basic electroacoustic techniques for the processing of concrete sounds, as well as the search for interpretative
potential linked to the use of multiple field recordings released from the space-time context of reference.

Dee Fry (UK)- Anthropocene Stimscapesongs of Delay /&/ Decay, 2024, 9:36
“Anthropocene Stimscapesongs of Delay/Decay strives to reflect the thoughts, dreams and anxieties of our ecological landscape, from a sensory neurodivergent lens. Made from recording Fibonacci number cut stims as a response – juxtaposing melodies of naturalistic guitars/piano/layered human voices/field recordings of Sussex waves/Greenwich waters/human breaths and a baby’s embryonic heartbeat – collide with sonic plastic orchestra of digital guitars/synths/effected vocals. Reflecting reverberating delay/decay/sustain/release human/natural contradictory interrelationships, rising waves fading back and forth, anxieties of bleak otherworldly and earthly collisions of human impact on ecosystems, but with hope for renewal.”

Dee Fry (UK)
“London-based neurodivergent musician/composer/vocalist & sound artist. She creates new intricate music, songs & ethereal soundscape concepts through which they have coined ‘Stimscapes’, otherworldly yet welcoming. Blending elements from artpop/post-rock/experimental/ambient/folksong to contemporary soundscapes and live improvisations, she records & performs often layered sonic-song explorations, using guitars/piano/synths/vocals/sampled objects/recycled sound/field recordings & adapted AV. Often exploring relationships between reverberating themes of ‘Sound/Senses/Regulation/Delay/Decay’, of ‘Stimming/Repetition’, and through reflecting of what they describe as their experience of “ND Embodiment Orbiting”, “circuits harmonising aütmospheric darkness/light…aiming for a form of ND affirming ecomusicology”, she makes solo & collaboratively with a diverse range of interdisciplinary musicians and artists.”

Nicola Fumo Frattegiani (Italy)
Nicola Fumo Frattegiani is an electroacoustic and audio-visual composer living in Perugia, Italy. His works have been presented at various national and international festivals.
Author and performer, his research deals with electroacoustic music, sound for images, video and art exhibitions. He is a Subject Expert in “Electroacoustic” and “Computer Music” at the Conservatory of Music of Perugia. He held the chair of Electroacoustic Music Composition at the Conservatory of Music of Messina and he was professor of Sound design at the Academy of Fine Arts in Macerata. He is currently professor of Sound design at the Academy of Fine Arts in Perugia.

Johannes Christopher Gerard (NL) – Dusk of Anthropocene, 2024, 5:54
An audio metaphor reflecting an epoch which very likely moves towards a final dusk and doom of the Anthropocence of humanity. During this era, deasaters human actions have significantly impacted the atmosphere, lithosphere, biosphere, cryosphere, and oceans. There might be still a glim of hope, but for myself I can not see it anymore.

Johannes Christopher Gerard (NL)
Born in Cologne, Germany. Studied at School of Printmaking and Design, Cologne, Germany, and at Dun Laogharie School of Art and Design, (IADT) Dublin, Ireland. Since 1981 participation in exhibitions, video/film festivals, in Europe, Far East, South Asia, Australia, North and South America and Africa. 2014 first video films and performance pieces. Since then, he created several video and performance collaboration projects with artists from different countries and disciplines. Participation in 2022 in the sound and acoustics project Acoustic Interiors led by Anne Wellmer in The Hague, Netherlands. Therefore sound art became a new discipline to work with.

Robert Gillespie (UK) – Legacy, 2024, 14:56
a sound collage constructed from urban field recordings of Northern Ireland and London, incorporating traffic, industrial machinery and voices.

Robert Gillespie
Robert Gillespie is a multidisciplinary artist from Derry in Northern Ireland. He grew up during the Troubles and his experience of this permeates his work. He now lives and works in London.

Ralph Hoyte (UK) – How Goes The War, 2024, 8:20
How Goes The War sets the resonances of the Anthropocene. It references wetland flora, coding, a reversed Agnus Dei and other, fickle things floating around in the poet’s brain seeking expression, ending with a French folk song played by the poet’s son, Stefan Hoyte. The work is dedicated to Frédéric Maintenant, who, it seems, has never forgotten the line ‘How goes the War?’ in one of my poems and is always reminding me of it.

Łukasz Horbów (Poland) – Lament, 2022,9:14
Voice and sound design Aleksandra Karpiuk, Audio loop 9’14’’
Lament is a contemporary mourning song referring to one of the oldest Polish works of this type „O polska Korono!”.
It speaks of the concerns of the people but also of the whole mother earth, so my witch laments for me and the whole earth without hope

Łukasz Horbów (Poland)
is a visual artist born in 1995. His artistic practice revolves around sound, spatial activities and poetry. He graduated from Academy of Fine Arts in Warsaw. His understanding of the world is tragic – concentrating around the vision of an alienated human, who gradually gains understanding of one’s dramatic circumstances. He identifies himself with this very figure,
moreover it depicts broader coping mechanisms. Auto-reflection driven by fear forces people to behave and act in a way to preserve their existence. In his practice he thrives to tame his own as well as collective fear. He searches for its own unique language in the process. Importantly, in his work he uses underestimated, minimized techniques.

Hagai Izenberg (IL) – Fragments, 2021, 4:19 Pierre Jolivet (France) – Radiant Planarity, 2023, 8:22
Fragments is a Musique concrète piece based on field recordings of environmental sounds, capturing and manipulating the sounds we encounter daily from machines, radio, people, and more.

Panayiotis Kokoras (Greece) – AI Phantasy, 2020, 10:00
One of the main sound-producing mechanisms in the piece is a vacuum cleaner. The airflow travels from the motor through the suction hose and telescopic tube to the end nozzle. The excitation signal is produced by various membranes and other probs vibrating at the end of the suction tube. Then the sound is modulated following the Fab Synthesis paradigm, a sound synthesis practice I used throughout the piece. The idea of generating sound by air suction posed several challenges but also gave me the kind of sounds I imagined for this piece. In addition, I developed a series of circular pan flute kind of sound generators which could rotate electromechanically in variable speeds. In this case, the airflow generator was an air pump compressor. I used a modified airbrush attachment to control airflow and direction. The result sounded as a hyper-pan flute with unique sound possibilities.

Panayiotis Kokoras (Greece) –
Kokoras is an internationally award-winning composer and computer music innovator, and currently Professor of composition and CEMI director (Center for Experimental Music and Intermedia) at the University of North Texas. Hailing from Greece, he underwent formal training in classical guitar and composition in Athens (Dip), Greece, and later in York, England (MA, PhD). He taught for many years at Aristotle University in Thessaloniki. Kokoras’s sound compositions use sound as the only structural unit. His concept of “holophonic musical texture” describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a “virtuosity of sound,” a hyper-idiomatic writing which emphasizes on the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece.

Yuko Katori (Japan) – Kurakake 1, 2016, 10:56
I wish I had a memory of the snow of Kurakake mountain. But it can still be produced in my
imaination. The work is to Kenji Miyazawa.

Yuko Katori
She studied composition at TOHO Gakuen school of Music (BMus) at her native Tokyo, Japan, and at Guildhall School of Music and Drama (MMus) in London, UK.
Her composition teachers include Y. Sueyoshi, M. Mamiya, Diana Burrell & Peter Eotvos.
She was one of the creative teams in residence at OperaGenesis, Royal Opera House in London, UK from 2006 to 2009, where she developed two Theatre pieces. She was also commissioned for the
Royal Ballet’s new works programme, held at the Linbury Studio Theatre, ROH (2009). In 2013, she was accepted to participate in a masterclass for opera composition held in Budapest.
Since 2014, she has been concentrating on the creation of acousmatic music at CRANE lab with Jean Voguet.

Rainer Krause (Chile) – Rrrain – Llluvia, Ñuñoa, 16-8-2021 (excerpt), 2020, 10:11
“Llluvia”(Rrrain) documents the only prolonged rainfall in Santiago de Chile during the winter of 2021, specifically on August 16th. At my house, located in the Ñuñoa neighborhood, the rain lasted just over 16 hours and can be heard in its full duration every Sunday at rkrause.cl/playlist/. I recorded this event with 10 microphones which, when listened to with headphones, allow for a spatial perception of the raindrops. Due to the ongoing drought, the chance to experience live rain is becoming increasingly scarce.

Rainer Kurt KRAUSE
*1957, Hoyerhagen, Germany.
Visual and sound artist. Since 1987, he lives and works in Santiago, Chile.
Master’s degree in Visual Arts, University of Chile.
Faculty member at the University of Chile. From 2013 to 2019, he coordinated the Postgraduate Diploma in Sound Art, Graduate School, Faculty of Arts, University of Chile. Since 2019, Coordinator of Creation, Department of Visual Arts, Faculty of Arts, University of Chile. Since 1985, he has held individual exhibitions in Germany, Chile, Spain, and Canada.
Participation in group exhibitions in Europe and Latin America.
Since 2005, he has curated exhibitions, events, and sound art projects.

Aliaksander Krutsel (BY) – The Mass, 2018, 13:34
3 pieces art work. 1st part – representing human civilization as a biomass, chaoticaly moving and interating, like any other life form, without any clear purpose or goal. 2nd part – represents transition in train and in time. Evolving. When the Progress is born out of the Mass: first gramaphone record, telecomuication, videogames etc.3d-part – a new step for human civilization evolution – expansion of human impact beyond borders of our planet creates new purpose of it’s existance. .

Laila Kayali (USA) – Humanity’s Contribution, 2024, 1:03
Meet “Humanity’s Contribution” which introduces a collection of noises you could hear in an outdoor space during the time of humanity, a blend of nature that has been combined with industrial and man-made inclusions. Discover a feeling of familiarity yet confusion when the two opposite worlds collide, as you travel through it. A myriad of sounds have been included within this piece to come together and create a piece fitting the theme of Anthropocene. Explore the relationship between Earth and humanity as you dive into this representation of what exists between them in the time of homo sapiens.

Laila Kayali (USA)
recently graduated from Texas A&M University with a BS and a strong passion for music and the arts. I learned about new forms of music during my time at the university which is where I began to create pieces like this submission.

LanD ExcapE (Italy) – The Middle Zone, 2023, 5:02
he Middle Zone” musically represents the search for ecological balance: the right compromise so that the environment, continuously subjected to cyclical stresses of “traction” and “compression”, does not degenerate irreversibly. The piece alternates electroacoustic sounds, which evoke “stress”, with melodic episodes that represent the harmonic force of nature seeking its ideal balance: the final “reverse” is – in fact – a sign of hope.

Land ExcapE (Italy)
LanD ExcapE is an electronic music project born from an idea of Gavino Ganau (Tempio Pausania, Italy, 1966), a visual artist. LanD ExcapE currently features Giovanni Dibeltulu (Sassari, Italy, 1967) in the role of co-writer. The piece “Mar Morto” (2023), self released, was selected in a Call for contributions organized by the Gwaith Sŵn collective and broadcast on Resonance FM and Resonance Extra (London, UK). Their pieces have been broadcast by Neu Radio (Bologna, Italy), Radio Popolare (Milan, Italy), Radio Blackout (Turin, Italy), Silent Radio (Brescia, Italy), Majjem Radio (Netherlands), KOWS Radio (California, USA) and Diffusion FM (Sidney, Australia).

Le Tuan Hung (Vietnam) – Echoes from Human Footprints,2024, 6:47
“Echoes from Human Footprints” is an acoustical reflection on human life on Earth and the way they seek to control and exploit each others as well as natural resources. Tracing the human footprints through time and space, one perceives many voices: voices of hope, confidence, and despair echoing back and forth. While advances in technologies and developments of social/ethical ideals have the potential of improving the quality and condition for the life of every species on earth, a fair and just world remains a dream. Voices of despairs and sufferings seem to be amplified days after days.

Le Tuan Hung (Vietnam)
Le Tuan Hung is a sound artist and author. His works combine elements of world musical cultures. He is also the author of various publications on Vietnamese music.

Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico Brazil and France. He uses sound as a basic material in sound pieces videos actions and installations. His work is focused on listening it invites us to a different perception of our surroundings. His process is often collaborative working with communities using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation in human dialogues both with inhabited natural and urban contexts in what voices can tell beyond words.

John Wedgwood Clark & Rob Mackay (UK) – Inside the Red River, 2021, 15:00
Inside the Red River is a poetry and soundscape installation developed for the AHRC funded project Red River: Listening to a Polluted River. Led by Dr John Wedgwood Clarke of the University of Exeter, it explores how creative writing can transform our relationship to a polluted, post-industrial river through listening to the human and non-human voices that have shaped, and continue to shape, its course.

Wittwulf Y Malik (Germany) – 3 reactions to Fukushima – a Requiem“, op. 157 / 2012, 10:00
The music describes the shock, the deep emotional disturbance and uncertainty that this Fukushima disaster with its new dimension of danger and injury triggered in me in 2011. It expresses the incomprehensible, diffuse, incomparable threat that no one can precisely define and the resulting anxiety reaction. So my piece, when it is performed today with a certain time lag, is intended to communicate the first shock, the first horror, the first terror and the first speechlessness, to lead us once again into the experience of the physical, vital threat and constriction.
This piece is based on a confinement, a constriction, namely that of air, a source of our existence. In this way, all our distress is depicted in the breathing process. This work was written by me and premiered live on the anniversary of the Fukushima tsunami and nuclear disaster, on 11 March 2012, at a memorial service in Hamburg’s main church, St. Petri in Mönckebergstraße.

Notorische Ruhestoerung (Germany) aka Yyuri Steffan
Notorische Ruhestörung is a self-taught artist, organizer and activist mainly focusing on sound and music, but also active in other fields such as video, performance, zines and painting, DIY noisy electronics and improvisation. As a long-term member of the Berlin DIY, collective- & self-organized scene, Notorische Ruhestoerung is always interested in social struggles and real life experiences on how to be a more genuine and upright person.

Eli Purdy-Flacks (CA)
Hello! My name is Eli Purdy-Flacks and I’m an artist, producer, and sound designer from Toronto, Canada. My passion for sound flourished during the 2020 quarantine when I began teaching myself piano and music production. During this time I co-founded the Toronto Hip-Hop collective Library Trap which led to many other collaborations within the city. On May 10th, 2024 I graduated from Berklee College of Music where I majored in Electronic Production and Sound-Design. At Berklee, I collaborated with many artists, created my first solo album, and composed a 5-minute multichannel piece for “Sonic Futures,” a multichannel installation at the Lincoln Center.

Alberto Picciau (Italy) – Afelio IV, 2022, 6:48
This is a improvised sonic exploration, based on synthesizers and loop pedals, captures the essence of a fleeting moment, preserving its purity and imperfection like a photographic snapshot. The absence of overdubs enhances the spontaneity and authenticity of the performance, transporting the listener into the heart of the creative process.

Berk Yagli (Cyprus)
(born 1999) is a Cypriot guitarist, composer, and producer. Hismission with his music has been to talk about social, political, and philosophical matters interestingly to invite the listeners into reflecting on the topics. He has been active in the UK since 2017. He studied Music and Sound Technology (University of Portsmouth),
Masters in Composition (University of Sheffield), and currently at the University of the Arts London working under Adam Stanovic for his Ph.D. topic hybridity between metal and electroacoustic music. His works have been presented internationally. He is regularly invited to compose in studios around the world.

Una Walker
Una Walker is an artist and writer based at Flax Art Studios, Belfast. She has exhibited extensively in Ireland and internationally, making site and context specific installation, audio and video works, and works on paper. In the last few years she has used field recordings made in and around her home as the source for a series of audio works. Her work was included in the In-Sonora Festival in Madrid in March 2024. And an audio visual work will be shown in Earthrising at the Irish Museum of Modern Art in September 2024.

Nazarii Zanoz (UA)
Ukrainian sound artist, writer.
Author of the music projects: Mystic Hero (8-bit, chiptune, fakebit) http://soundcloud.com/mystic-hero, The Owlest (ambient, easy listening) http://soundcloud.com/the-owlest, Terebovlia Imaginary Orchestra (neoclassic, organ music). I have been working with sound since 2009.
In 2020 got the scholarship for making soundscapes of the cities Ratzeburg and Terebovlia: https://soundcloud.com/the-owlest/sets/terebovlia-ratzeburg-soundscapes
Resident of V:Uncase (Zhytomyr, Ukraine, 2020), “Zazemlennia” by IZOLYATSIA. Platform for Cultural Initiatives (Soledar, Ukraine, 2021), NART (Narva, Estonia, January, 2022)
Track “(Un)digitalized soundscape” were exhibited in Brandenburgisches Landesmuseum für moderne Kunst: https://soundcloud.com/nazarii-zanoz/nazarii-zanoz-undigitalized-cityscape

Kristina Petukhina (Montenegro)
• sound artist, independent researcher
• curator of the media project
• teacher of music theory in action Music Shho school
Sound artist & researcher, curator of the media project, and teacher of music theory in action. A musician with an academic education participated in a grand orchestra and many experimental music projects. Last two years I delved into the study of AI, the Python programming language, and Pure Data to expand the possibilities not only of my musical creativity but also to find ways to
solve various problems of sound ecology through technology. My sound artworks are exhibited at many exhibitions around the world and have been nominated and awarded. I also conduct educational activities.

Ethan Resnik
Ethan Resnik is pursuing a BM Degree in Composition at Eastman School of Music. His works are inspired by nostalgia and places he visits.
Ethan is the recipient of several awards, and his music has been performed across the globe. Additionally, he was featured as a composer on NPR’s From The Top.
Recently, he attended Bowdoin International Music Festival, Brevard, Mostly Modern Festival, Lake George Composer Institute, International Composition Institute of Thailand, and Maine Chamber Music Seminar. He attended the RED NOTE New Music Festival in March, 2024.
Besides music, Ethan enjoys riding roller coasters, hiking, and going to beaches.

Since 2008 recordings of experiments with modular synthesizers have been released in the USA and all over europe. In addition to these activities, sound installations, performances and happenings have been conceived and realized for various galleries.

Benjamin Schoones (NL)
is a multidisciplined artist based in Breda, The Netherlands, Graduated from Sint Joost, School of Art & Design in 2022 and is currently pursuing a Fine Art Master’s degree at the Piet Zwart Institute in Rotterdam. He is working with ready-made found & sculpted objects bringing them together in new constellations, often reacting to the architecture in the current space. Reflecting on tension between body and object, commodity fetishization, manufacturing & distribution and construction.

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Joan Schuman (USA) - Ghost Wolf, 2023, 12:32
Imagine the wolf, hunted, nearly extinct. These spectral creatures and their autonomous nations fiercely compel communities to seek their annihilation, or management.
Hold up a mirror to contemporary political dogfights over bodily dominion. There’s a strident belief in government control of disease and culture, scientific literacy and objectivity. But the
sovereignty of bodies is complex.
Here is a poetic shuffle of voices across the scaffold of hollow spaces—the mouth, pelvis; curled fists and open heart. Like the metaphor of unseen wolves, there is a trope of hysteria that is
palpable depending on the bodies and the faith in them.

Edmar Soria (MX) – Post Anthropocene Record No. X.01, 2023, 9:36
In 1950, Alan Turing published his famous article entitled “Computing machinery and intelligence” in which, among other things, he proposed the so-called “imitation game” in order to establish a type of heuristic with which it would be possible to know whether or not a machine exhibits intelligent behavior. The article begins with the powerful and forceful question: can a machine think?
A little more than 70 years later and after the long road travelled in the study and development of artificial intelligence systems, a new question is proposed here:
Can a machine dream?
In that sense, this acousmatic work represents (from a speculative point of view) the experiential record of the first machine that was able to dream, some time ahead in a unknown future. And so, this works place us at the first person´s perspective of its first dream.

Adam Stanovic (UK) – Ten Billion, 2018, 40:00
The United Nations recently predicted that the world population will exceed ten billion by the year 2050. If this prediction is correct, a staggering population boom will occur over the coming thirty years, at a rate never previously witnessed by mankind. This piece responds to the mind-boggling number, ten billion, by giving it a sonic form. Each tiny microsound, or grain, represents one person and, taken as a whole, they number ten billion. The piece was composed for 10 loudspeakers, at the studios of Bowling Green State University, USA.
Ten Billion is dedicated to my wife, Inja Stanović.

Ilia Tekhlikidi (Georgia) – Legoghost-Requiem for the Future, 2021, 3:19
LEGOGHOST is an experimental sound art project by Ilia Tekhlikidi. Travelling around the world, Ilia researches nations, cities and natural spaces, working with his mobile studio and making field recordings.
“REQUIEM FOR A FUTURE” artwork is dedicated to Baikal lake, a sacred natural treasure, that Ilia visited during his retreat journey (watch).