14 July – 11 August 2024
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While Anthropocene (actually only proposed as a new epoch of geologic time, following the Holocene) is an officially not yet definitely defined period of time during which human activities are thought to have had a significant impact on the global environment, regarded as having begun sometime between twelve thousand years ago, with the spread of agriculture, and two hundred years ago, with the advent of industrialization, as a topic of the media art context of The Anthropocene Project, the term is going far beyond marking the contradictory relationship between (the volatile transitory character of) human nature and (sustainable) nature, the significant human impact on ecosystems, including the human-caused climate change, biodiversity loss etc.
Curated by Wilfried Agricola de Cologne, The New Museum of Networked Art realizing the Sound of Anthropocene Project as a new media art context in an exchange between virtual and physical space, is inviting artists using sonic art as a non-visual medium dealing with the (positive and negative) human impact.
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Antonio Alvarado (Spain)
Tristan Burfield (UK)
Myriam Bessette (CA)
Nicola Cappelletti/ Nicola Fumo Frattegiani (Italy)
Osvaldo Cibils / Colectivo Masai Autónomo (Uruguay/Spain)
Feliciano Chiriaco (Italy)
Jan de Weille (NL)
Boris Donkson (UK)
Domenico de Simone (Italy)
Chad Eby (USA)
Marco Ferrazza (Italy)
Dee Fry (UK)
Nicola Fumo Frattegiani (Italy)
Johannes Christopher Gerard (NL)
Robert Gillespie (UK)
Ralph Hoyte (UK)
Łukasz Horbów (Poland)
INFLUUT (Nat Cilia & Daniel Maszkowicz) (CH)
Hagai Izenberg (IL)
Panayiotis Kokoras (Greece)
Yuko Katori (Japan)
Rainer Krause (Chile)
Aliaksander Krutsel (BY)
Laila Kayali (USA)
…our responsibility is invisible
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Le Tuan Hung (Vietnam)
Sara Lana & Félix Blume (Brazil/France)
John Wedgwood Clark & Rob Mackay (UK)
Wittwulf Y Malik (Germany)
Otse Mbida Fabrice Alan (Cameroon)
Ivan Vladimirovich Menzelintsev (RU)
Andreas Monopolis (Greece)
Notorische Ruhestoerung (Germany)
Masafumi Oda (Japan)
Debra Petrovitch (Australia)
Eli Purdy-Flacks (CA)
Alberto Picciau (Italy)
Berk Yagli (Cyprus)
Una Walker (UK)
Nazarii Zanoz (UA)
Kristina Petukhina (Montenegro)
Kris T Reeder (UK)
Ethan Resnik (USA)
Günter Schlienz (Germany)
Benjamin Schoones (NL)
Joan Schuman (USA)
Edmar Soria (MX)
Adam Stanovic (UK)
Ilia Tekhlikidi (Georgia)
……the downfall of humanity lies within itself
The details
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.
Antonio Alvarado (Spain)
Multimedia artist, native of San Pedro del Arroyo (Ávila), born in 1950. He has studied Philosophy and Fine Arts at the Complutense University, Madrid. His work ranges from installations, sculptures and electroacoustic music to pieces conceived for the computer or the Internet.
His electronic work has been selected for numerous international festivals, such as 404, FILE, MAEM, Camargo Cibernético, Confluencias, Ciberarts, Image, Zona de Moraña, Videobardo, etc. His plastic work has been exhibited in individual exhibitions or fairs and required for numerous collective exhibitions. Both national and international.
He is co-founder and director of La Mano de la Luna, a performing collective, and has also curated exhibitions and festivals.
He currently carries out works in which he combines plastic with the digital and electronic in collaboration with the Weber-Lutgen galleries in Seville and Caféconvertes in Madrid and the La Neomudejar and Zapadores museums in Madrid.
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.
Tristan Burfield (UK)
has been described by a new band a day as a modern day electro “polymath”. His music often incorporates lo-fi elements such as videogames, toys, junk, glitches and noise.
Tristan’s stubbornly retro approach (which has seen him brandish Gameboy’s, Nes Consoles and Commodore 64 sound chips as sound sources) often embraces limitations as a means of creative inspiration.
Tristan has played shows throughout the UK, and is becoming a regular staple on the festival circuit (Bring Yourself Fest, Toiletronica, Bristol Ashton Court Festival and Cambridge ‘Be sure for the song has no name’ festival). His music has been played on Radio 1 and released on various independent labels such as Quagga Curios Sounds, Mute Sounds, Underground Pollution, IFAR, Harsh Noise Movement, Wall Noise Action, ain23, Linear Obsessional, Feed Me Glass, Floppy Kick and Monkey Love Records.
Recently his projects have been enhanced by the incorporation of visual elements, his music has been used as an accompliament to a silent surrealist film (Blood of a poet), combined with small format film (Shimmies in Super-8), and has been juxtaposed against found manipulated material (Shadow Pictures, Switched On Noir: 14 Hardboiled Synthesiser Themes). The visual strand of his work has been strengthened via a series of Photographic/multi-media exhibitions shown in galleries such as Colchester slackspace, Norwich Art Centre and Oxo Tower, London.
Tristan continues to release music on his own label, his latest release Weaponised Nostalgia features music from 2002 to the present day.
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/ Nicola Fumo Frattegiani (Italy)
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.
Boris Donkson (UK)
Presenting sounds out of context gives Boris Donkson’s work a firm Concrète base. Passionate about driving interest in electroacoustic music, he performs in pubs and clubs across northern England. As a mature student, a B.A. in Music Production rekindled his passion for early electronic music, and sees him studying Sonic Art (MA) at Leeds Beckett. The regular use of spoken word within his work has led to compositions appearing in concerts and poetry podcasts. Broadening the scope of his work to include mixed media and installation pieces, Donkson’s still attempting to bridge the gap between unauthorised events and formal concert settings.
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.
Chad Eby (USA)
short bio: Chad Eby creates work, by turns stark and whimsical, that explores people’s fraught relationship with made objects and technological processes. Eby is a Lexington Kentucky-based multidisciplinary artist, designer, and educator working with light, sound, and code to engage with the grain of digital technologies.
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 – Roadstead,2021, 11:51
‘Roadstead’ is the creation of an imaginary landscape in which nature is continuously transfigured by man, by his action and his existence for better or for worse. A short journey,
a path. The sound is subjective, what we hear are the sounds perceived by the man who travels the harbor which symbolizes an inner journey.
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.
Ralph Hoyte (UK)
Ralph Hoyte is a Bristol-based, poet, writer and located audio designer (audio gps-triggered on location). As a poet, Hoyte specializes in live-art poetry – his poemscripts are written either for his voice or for multiple voices and tend towards the epic in length and/or are very experimental.
Hoyte is a Visiting Fellow at the University of the West of England (Faculty of Arts, Creative Industries and Education). Current projects include Riot1831, geo-locating the 1831 reform riots in the Georgian West country; and Colston’s Last Journey – a work of soundart whose theme is Bristol and the Transatlantic Trafficking of Enslaved Africans.
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.
INFLUUT (Nat Cilia & Daniel Maszkowicz) (CH) – Anthropocene,2024, 6:59
This work is a collage of yet unpublished material recorded live or in our studio. Our idea of the sound of Anthropocene actually fits our approach to composition. We build musical narratives that follow organic flows with a technological component, which leave room for improvisation and algorithmic sound events.
INFLUUT (Nat Cilia & Daniel Maszkowicz) (CH)
INFLUUT is a duo from Switzerland playing a music best described as electroacoustic post-jazz. The essence of their sensitivities takes origin in two opposite yet complementary approaches that meet to explore instrumental harmonies and algorithmic synthesis.
Nat Cilia is actress, dancer, composer, and musician (piano, saxophone, voice) that participated to various production, mainly in Switzerland, France and Spain.
Daniel Maszkowicz is engineering research scientist in power electronics, curator for independent cinema, multidisciplinary performing artist, composer and cultural event producer.
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.
All materials were collected during a one-week residency in a program called the Noise Agency, compressing a week of experience into condensed sonic work. By editing field recordings, amplifying objects, and capturing live FM radio and streaming sources like police dispatches, the piece transforms fleeting auditory moments into sustained soundscapes.
This composition reflects on the environmental impact of human activities, inviting listeners to consider the auditory footprint of our presence and highlighting the timbres, textures, and new contexts of sounds in this era.
Hagai Izenberg
is a sound artist, composer, and musician based in Israel. His experimental work involves field recordings and live samples from radio, focusing on the sonic properties of sounds. He is a founder member of the electronic duo Rendezvous and regularly performs live, creates sound installations, and produces the radio show Radio Concrete on Resonance Extra (UK).
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. .
Aliaksander Krutsel (BS)
Born and living in Belarus. Working as a sound Designer mostly for movies and animation. Music, artistic sound design and field recording is a hobby
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.
Sara Lana & Félix Blume (Brazil/France) – Radio Mondial, 2018. 6:00
On July 15, 2018, people all over the world tuned in to listen to the FIFA World Cup final tournament, with over 60 radio broadcasters from various countries providing
commentary in their own unique way. This diverse array of voices highlights how the act of listening can bring us together globally while also showcasing our cultural
differences. Despite living in a visually driven world, the role of the radio commentator remains vital for soccer fans. This sound collage offers a unique perspective on the
match, incorporating different languages, accents, rhythms, and sounds typical of radio broadcasts. Listening to this diverse mix of voices is a reminder of the power of sound in uniting us as one global community.
Sara Lana & Félix Blume (Brazil/France)
Sara Lana is a Brazilian artist and developer (1988, Belo Horizonte – Brazil). She studied Mathematics and Electric Engineering at Federal University of Minas Gerais from 2007 to 2015 where she collaborated with CEGeME – Center for Research on Musical Gesture & Expression. Her projects lie in the convergence of art and technology. She often uses multiple supports, especially sound,
electronics and video, having illustration and cartography as important elements throughout her creative process.
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.
If you don’t know the Red River—and it’s not on the usual map of West Cornwall tourist destinations—it rises among neolithic standing stones on the moors above Camborne and flows through a valley that has been worked for tin since at least Roman times, finally emerging into the clear waters of St Ives Bay at Gwithian.
Although only 7.5miles in length, and little more than a stream, it passes through a remarkably diverse physical and cultural landscape. Given its centrality to the Industrial Revolution in Cornwall, and the development of hard-rock mining around the world—it flows through part of a UNESCO World Heritage mining site—the Red River’s sediments are rich in stories and ecology that reveal the human and non-human legacies of heavy industry. It even contains a unique sub-species of trout that has evolved to live in its polluted water, a life form that may be considered as much an artefact of tin-mining as the Cornish engine-houses on the slopes around its banks: mining is in its genes.
John Wedgwood Clarke – The project is directed by the poet and academic Dr John Wedgwood Clarke, Senior Lecturer in Creative Writing at the University of Exeter.
John was born in Penzance and grew up in St Ives and Carbis Bay. He went to the Humphry Davy School and Penzance Sixth Form College. As a teenager, he surfed in the rust-red waves at the mouth of the Red River.
He has published two collections of poetry, Ghost Pot (2013), and Landfill (2017), which explores the poetics of rubbish and marine ecology. John regularly collaborates with scientists, educationalists, and other artists on cross-disciplinary projects with a strong participatory element, working with both schools and groups outside formal education.
Rob Mackay – Rob Mackay is a composer, sound artist and performer. He is currently a Senior Lecturer in Music at Newcastle University.
Recent projects have moved towards a cross-disciplinary approach, soundscape ecology, audiovisual installation work, and human-computer interaction. His work has been performed in 18 countries (including broadcasts on BBC Radio 3, BBC Radio 1 and Radio France), and a number of his pieces have received international awards.
He is currently Chair of UKISC (UK and Ireland Soundscape Community). Several CDs and Vinyl are available including Rob’s Work.
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.
Wittwulf Y Malik (Germany)
1967-72 music studies in Hamburg and Detmold. Since 1976
free-lance work as composer, composer performer, visual artist, performance artist and with experimental multimedia projects. Grants in Germany, Italy and Sweden. Teaching-work at a lot of universities and music academies. Exhibitions at a lot of galleries and museums. Concerts/Performances in nearly all European countries and Canada and the US.
Otse Mbida Fabrice Alan (Cameroon) – Magnus, 2023, 7:33
The intention of this piece is to express what aquatic species are experiencing as humanity is increasingly exploiting their natural habitat for selfish and destructive reasons. Also, highlight the importance of preserving our environment by focusing on water and the species that depend on it for their survival.
MAGNUS is a stereo soundscape composition that blends natural acoustic environmental sounds with processed versions of natural instruments and synthesizers. The result is a visit to an imaginary place in the ocean
Otse Mbida Fabrice Alan
OTSE, born Otse Mbida Fabrice Alan, is a Cameroonian multidisciplinary artist – electronic music composer, sound artist, and producer Dj(under the alias Skriim) – whose work essentially revolves around the research, collection and transformation of organic unorthodox sounds, to create musical novelty in the areas of electronic music and sound art. His music is mainly characterized by african rhythms, percussive sounds, ambient drones and electronic synths sounds.
Ivan Vladimirovich Menzelintsev (RU) – Ghost Village: Horror Movie, 2024, 4:58
All the tracks that I sent were released in August of this year along with the album “Night Walks on Elizabeth”. Elizavetinskaya is a village 10 kilometers from Krasnodar itself, where I live, a few minutes’ walk from my house is the bank of the Kuban River and the forest in which I often walk my dog. It is very quiet and peaceful there, a great place to relax, think or dream about something medieval and fantastic. All three tracks are a reflection of my hiking in the forest and what I see and hear around me.
Ivan Vladimirovich Menzelintsev (RU)
My name is Ivan, I am from Russia, I was born and grew up in the small town of Nevinnomyssk, in the Stavropol Territory, where I spent my childhood and youth, from birth I was instilled with a love for different music, from an early age I listened to heavy rock, hip-hop and various electronic music, since my parents played different instruments, then I also wanted to learn how to play and I was sent to a music school to study piano. Later, after graduating from secondary and music schools, I moved to the large provincial city of Krasnodar, where I still live, and since then I have only increased my interest in various music.
Lately, I’ve been getting the most out of listening to such musical genres as: Beatdown Hardcore, Hardcore punk, Atmospheric/Raw Black Metal, Old school Hip-hop, Gabber, as well as Dark Ambient and Dungeon Synth.
But just listening to music is not as interesting as playing it myself, so I play in several bands: “Bile”, “x404x”, “Crankshaft” and others
And I’m also trying to implement my solo projects, where I can not focus on genres, but do what I like.
Like for example in Ghost Village where I write different melodies that come to me with inspiration while walking through the woods near the house.
Andreas Monopolis (Greece) – Digital trills, 2010, 6:12
Digital trills it is composed from recording the human voices in a variety of yodels and trills as well as electronic sounds a trip from happy and cheerful expression to a more obscure sensation climaxing in a harmonious and hironical beat.
Andreas Monopolis (Greece)
He has had valuable collaborations with big verity of artists, creators and artistic institutions, He also actively delivers seminars in several forms and contexts, holding a steady collaboration with the Music and Audiovisual Arts department of the Ionian University. Since 2000 he is a member of the Hellenic of Electroacoustic Music Composers Association (HELMCA). From 2010 to today he is producing original DIY electronic creations under the nickname: MoCM
Notorische Ruhestoerung (Germany) – Notorische Ruhestoerung live @ FFUS, 2023, 9:26
A home-made drum computer and a proto-synthesizer are slowly being replaced by a loop, resembling a church choir. Then, a field recording of „Die Ursonate“, a Dada piece by Kurt Schwitters… It has to compete with field recordings from Teufelsberg radar station and it’s perfect echo. More home-made synthesizers link to „(01247)5-Z36 vs.
(0123568)7-Z36“, a choral employing mutually exclusive sets of intervals for each hand. Afterwards, the entire opus of „Schadensersatz in Form von Gerümpel“ can be heard in fast forward mode. The piece ends with „Prelude about contextual inversion“, a prelude replacing traditional western musical cohesion with „contextual inversion“.
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.
Masafumi Oda (Japan) – Circulation in and for turbulence Ⅳ 2024, 5:59
I first developed an app using Unity, a famous game engine, and I played violincello and voice performance improvisationally and sent these into the system, listening outputs in real time (this is the exit from Source-Modulationism). Then I used these recordings as materials in DAW and finally I composed one electronic piece. This piece itself is both practice and its result of subtractionism in the same time.
Masafumi Oda (Japan)
A multimedia artist in Japan. Enrolled in Department of Philosophy, Sophia University. Having got master’s degree by writing a master’s thesis about Deleuze’s philosophy. Participated in many international music, art and film festivals with music, audio-visual pieces, performances, films and paper presentations. A member of ASCAP and Japanese Society for Electronic Music.
Debra Petrovitch (Australia) – Garden of the unforgiven, 2024, 7: 05
Garden of the unforgiven moves through various hypnotic states starting with rain which predominates the soundscape. It then moves sonically into industrial rhythms and various recordings from the immediate environment.
Debra Petrovitch
Dr Debra Petrovitch is an academic and multi-media artist of National and International acclaim. She is also the founder of Subcutaneous Theatre, which explores the immersive possibilities of video, sonics and performance.
Debra has numerous awards including the New Media Fellowship (2002-2004) Australia Council for the Arts and the New Media prize at 13th International Electronic Arts Festival Sao Paulo Brazil for her Interactive CDRom Uncle Bill.
Debra’s PhD dissertation Discomfort of the Flesh: Antonin Artaud’s Theatre realised with New Media Technologies charts Artaud from birth to death, examining his ‘struggle’, which ultimately defines his ‘theatre’. The word ‘theatre’ takes on new meaning as its extended definition moves into eruption, embodiment and transformation.
The investigation covers many forms including the Avant Garde, Ritual Theatre, fractured audio, Film and Performance, leading into New Media
Eli Purdy-Flacks (CA) – Four Worlds: Anthropocene, 2,2024, 4:17
Originally composed as an 8 8-channel multichannel piece, Four Worlds: Anthropocene explores the impact of humanity and technology on the earth. The piece is sectional, with each section representing a different world. The first world represents Nature. This section uses a combination of sampling and synthesis to depict the world without humanity’s presence. The second world represents technology, isolated from anything living. The third section depicts humanity, nature and technology in an unsustainable and toxic relationship with each other. This third world is the closest world to ours. The last section depicts a Utopia where nature and technology are in harmony.
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.
Alberto Picciau
Since 2006, I’ve been producing electronic music as a self-taught artist. I started with classic DAWs like Reason, Ableton, Cubase, but then I integrated hardware instruments like synthesizers and drum machines. Over time, my approach shifted towards instant composition and improvisation. I’ve exhibited installations at the Ciusa Museum in Nuoro and the San Michele Castle Museum in Cagliari, presenting a work on plunderphonics, with multiple vinyl records playing simultaneously, allowing viewers the freedom to improvise. Throughout the years, I’ve collaborated with various labels, including Bunker Records, Radical Matters, and Posacenere.
Berk Yagli (Cyprus) – Grains of Temporality, 2022, 9:59
Grains of Temporality
explores the ironic struggle of power, justice, and equality dynamics that have long haunted many civilizations and provides an abstract journey through our history and
future of civilizations via the grains of time. This piece aims to hybridise metal and electroacoustic music through ideas of eclecticism, and polystylism.
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 (UK) – Pass-age, 2024, 07:15
Pass-age is a sonic journey from my home on the shores of Strangford Lough, Northern Ireland to the streets of Belfast. It starts with a storm, rain running downhill to the sea, reflecting our rising rainfall caused by climate change. Following this, a trek through the forest with the ever present aircraft overhead. Then to the city where I have my studio, to streets where the sounds of people are almost overwhelmed by traffic, buskers, tour guides, and street preachers. Making this work has made me realise how much effort I put into mentally editing out the sounds of the Anthropocene.
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) – Gravity of Mines,2021, 06:03
Gravity of Mines is the soundscape that was made in February 2021. It was made during the “Zazemlennia” residence by IZOLYATSIA. Platform for Cultural Initiatives . This soundscape was made near the Soledar’s salt mines as the core of the city. Through this soundscape I was trying to depict how everything in the city was somehow connected to the salt (you can hear there sounds of mines, trains that are heading to mines, the train station with the name “Сіль/Sil'” that means “Salt” in Ukrainian, people that are talking about salt etc). Also I wanted to collect and save the original sounds of the city and its suburbs. Nowadays Soledar is under the Russian occupation and has been very close to the frontline for more than 2 years.
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) – Inversion, 2022, 4:55
In my video made with 1 iPhone photo, 13 Instagram masks, and my track, I, without leaving the house (of course following the rules during the pandemic) reflected my coexistence, a form of contact, in quarantine lockdown with my neighbors.
During this difficult period of isolation, I was left alone with my neighbors in a new building. Every day they drill into all the walls and it seems already into my head.
My hearing transforms. I took my violin, Octatrack, Korg, Kaoss Pad — and we played together like an industrial orchestra. Through this experiment, you heard the noise of repair in a new
way. Now, this is the music.
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In my art project, I show the possible metamorphoses of innovation in society, in the human environment — the possibility of turning stress into creativity through art & technologies.
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.
Kris T Reeder (UK) – Export, 2022, 2:40
Kris T Reeder
K T Reeder has been recognised as ‘one of 25 of the artists who have engineered the cultural transformation of British jazz over the past four decades’ in a seminal book on British Jazz by David Burke (Giant Steps: Diverse Journeys in British Jazz – 2021)
Ethan Resnik (USA) Taraxacum, 2021, 6:10
Taraxacum refers to various types of flowering plants, such as dandelions, which are often topped with white puffs of fuzz. When the wind blows, the fuzz breaks, as parachute-like seeds disperse and fill the air. Watching them fly away always reminded me of the cyclic nature of the entropic environment, which, as a result, enhances my interest in nature. The inspiration was spawned by my adventures hiking in and around my hometown of Bedford, New York, and this piece emulates the experiences encountering distinguished flowering plants.
A dandelion may be viewed as an invasive weed that must be pulled, however, the symmetrical flowers are a reminder of regrowth and serenity within the ecosystem.
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.
Günter Schlienz (Germany) – Lina-Hähnle-Blues, 2023, 7:22
A sound installation with following devices: Two cassette dictaphones with built-in loudspeakers, one device plays back a recording of a record with bird calls, the other device plays back a recording of a drone.
The location for the session was the memorial stone in the Stuttgart city forest for the environmental activist Lina Hähnle. She lived in the 19th century and committed her life to the protection of the native birdlife.
The playback of the cassette dictaphones as well as the noises and bird calls of the location were recorded with a digital audio recorder.
Günter Schlienz
Born 16.12.1970 in Heilbronn/Germany.
Vocational training: 1987-91 Apprenticeship as a radio and television technician, journeyman’s certificate.
University education: 1995-2003 Studied history, sociology and general and comparative literature at the University of Stuttgart. Graduated with a master’s degree in history.
Freelance work as a sound engineer since 2003. Since 2010 permanent position at the Staatstheater Stuttgart.
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) – Body is Warm, 2024, 03:33
My Body is warm, yet tips are numb. Several generated voices speaking in raspy concerned tones. Accumulating clutter in poetic layering jumping from inner somatic to outer-body-to-object in situated oneiric yet often concrete direct moments. Reflecting on the ever changing surrounding where the body has a desire for solidification in order to deal with the uncertainties that our current lives are facing.
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.
JOAN SCHUMAN
I create radio art that is muscularly narrative. Works have aired internationally since the 1990s. Interviews frequently find their way into sound-texts. Fragments become a story. Voices morph
and evolve. Sounds from the field are both exacting and woven as sonic metaphors. I have curated programming for online and broadcast spaces; in 2015 I created the virtual sound-art
museum, Earlid. As a mentor at Wave Farm (2019-2024) I have guided researcher-artists to build a fluid collection of radiophonic works. And since 2004, I’ve been teaching online through the
Masters in Media Studies program at The New School.
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.
Edmar Soria (MX)
PhD. and M.Sc. in Music Technology from UNAM, a B.Sc. in Mathematics from the Instituto Politécnico Nacional and an M.Sc. in Applied Economics from UNAM. He is currently a postdoctoral fellow in mathematics and artificial intelligence at the Instituto de Investigaciones en Matemáticas Aplicadas y en Sistemas, UNAM and is currently a member of the Sistema Nacional de Creadores de Arte (FONCA, 2024-2027). He was head of the PIATS Research Area (Practice as Research in Art, Transdiscipline and Sound) of the Division of Social Sciences and Humanities at UAM-Lerma (2017-2023).
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.
Dr. Adam Stanovic (UK)
Adam Stanović (né Stansbie) started composing electronic music over twenty-five years ago. His works employ a fixed medium, and have sometimes included instruments, electronics, film, and animation. To date, his music has won prizes, residencies and mentions at competitions around the world, including: Bourges (France); Métamorphoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Música Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); Klingler ElectroAcoustic Residency (KEAR, USA); MusicAcoustica (China); Prix Russolo (France); and Red Jasper Award (USA).
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).
Track is published on “DREAMS & THRILLS”, the conceptual eco-release by HHD Label. 5 artists (Russia, Germany, USA) were gathered to show their vision of the future. All tracks include the real sounds of nature recorded by Greenpeace International and selected by DJs for Climate Action project (watch).
Ilia Tekhlikidi (Georgia)
Ilia Tekhlikidi is a multidisciplinary artist 36 y.o. He is an Audiovisual Storyteller & Art Curator, Writer & Game Runner, Creative Director & Producer.
Ilia works in a format of transmedia storytelling. He uses different mediums and technologies to tell socially significant stories.
During his environmental projects Ilia has collaborated with Greenpeace (watch), WWF (watch) and other ecological organizations.
Also Ilia has his own music label (HHD), on which he releases conceptual & experimental projects.
Ilia was born in Georgia and raised in Russia. Now he lives in France, starts to write PhD in Modern Arts at Pantheon-Sorbonne University (Paris).