Walk So Silently That the Bottoms of Your Feet Become Ears

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Antiorquesta de interferencia nasce da un’improvvisazione svolta e registrata a Città del Messico, da Amanda Gutierrez, Gudinni Cortina e Vittoria Assembri, utilizzando interferenze radio, onde elettromagnetiche, oscillatori, vinili, nastri magnetici, pietre e foglie, trattati come dispositivi di ascolto più che di produzione.

il risultato è un campo instabile in cui il suono non viene eseguito ma intercettato: frammenti, distorsioni e segnali accidentali emergono e si sovrappongono come tracce di una comunicazione possibile ma mai del tutto decifrabile. una pratica di ascolto che trasforma il rumore in materia viva e la materia in possibile trasmissione.

Antiorquesta de interferencia emerges from an improvisation performed and recorded in Mexico City by Amanda Gutierrez, Gudinni Cortina and Vittoria Assembri, using radio interference, electromagnetic waves, decaying magnetic media, oscillators, experimental vinyl records, magnetic tapes, stones, and leaves, treated as devices of listening rather than production.

The result is an unstable field in which sound is not performed but intercepted: fragments, distortions, and accidental signals surface and overlap like traces of a communication that is possible yet never fully decipherable. A practice of listening that transforms noise into living matter and matter into potential transmission.

Tracklist:

1. Assembri-Gudinni-Gutierrez - Antiorquesta de interferencia

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Drifting on the Echoes

In occasione della sedicesima edizione di ChiassoLetteraria Porti, l’associazione Grande Velocità ha ospitato a Spazio Lampo un dialogo tra l’artista kosovara Barbara Prenka e la musicista italiana Alessandra Novaga.

La materia pittorica si arricchisce, nel lavoro di Barbara Prenka, di un’energia che agisce in relazione all’ambiente che la circonda e allo stesso tempo la rende autonoma rispetto ad esso. Carichi di intuizione e spontaneità, di progetto e imprevisto, i suoi gesti delicati donano al colore una forma e una tridimensionalità che si modella in relazione a quella dello spazio espositivo, seguendo e avvolgendo i suoi pieni e i suoi vuoti. Con l’aspetto di una trapunta minuziosamente confezionata dalle mani dell’artista, la pittura-oggetto di Barbara Prenka si è dispiegata a Spazio Lampo in un morbido fluire di sfumature, avvolgendolo di una patina familiare e accogliente, un porto sicuro in cui trovare agio e conforto, in cui riconciliarsi con la dimensione domestica che negli ultimi mesi è stata campo di forti contraddizioni.

Lasciandosi ispirare da questo ritmo cromatico, Alessandra Novaga ha trasformato la morbidezza e fluidità del lavoro di Prenka in suggestioni sonore, creando una traccia che, avvolgendosi all’opera come un riverbero, è rimasta udibile per tutta la durata della mostra.

Drifting on the Echoes Barbara Prenka e Alessandra Novaga 18.9—14.11 2021

Alessandra Novaga, compositrice e chitarrista, sviluppa una pratica strumentale trasversale in cui partitura grafica, improvvisazione, dispositivi scenici e approccio narrativo si incontrano. Formata presso la Musikhochschule di Basilea, oggi lavora a una costellazione di progetti in cui la chitarra diventa una superficie per scrivere, ascoltare e proiettare l’immaginario.Il suo lavoro si articola attorno a materiali eterogenei — archivi, immagini, testi — con particolare attenzione alla loro risonanza extramusicale. Alcuni dei suoi progetti hanno tratto ispirazione da figure cinematografiche come Andrej Tarkovskij, Derek Jarman e Rainer Werner Fassbinder, di cui ha trasposto le atmosfere in paesaggi sonori astratti e interiori.Ha collaborato e si è esibita con diversi artisti, tra cui Loren Connors, Patrizia Oliva, Elliott Sharp, Adrian Utley, Sandro Mussida e Kid Millions. È cofondatrice di What We Do When in Silence, con Nicola Ratti e Enrico Malatesta, del Duo Kaserne con la violinista barocca Laura Corolla e, attualmente, collabora con Stefano Pilia e Alessandro Bosetti. Si è esibita in festival come Donaueschinger Musiktage, Himera Festivaali, Angelica, Festival dei Due Mondi, Courtisane Festival, oltre che al Café OTO e all’ISSUE Project Room. Ha pubblicato con Die Schachtel, Blume, Coherent States, Holidays Records, Setola di Maiale e Long Song, tra le altre. Attualmente vive a Milano.

Barbara Prenka, nata nel 1990 a Gjakova, Kosovo, vive e lavora tra Venezia, Bolzano e Berlino. Si è diplomata presso l’Accademia di Belle Arti di Venezia sotto la guida del professor Carlo Di Raco. Nella sua pratica artistica utilizza pittura, tessuto e ricamo. La sua ricerca analizza una pittura composta da differenti medium che diventano reagenti dell’ambiente vicino e lontano. Il confine diventa così uno spazio capace di generare nuove prospettive, in un continuo processo di creazione, distruzione e ricreazione. Ha esposto il suo lavoro in cinque mostre personali e in numerose mostre collettive a Berlino, Parigi, Pristina, Milano, Messico, Vienna, Tirana, Palermo e in altre sedi internazionali.

Tracklist:

1. Alessandra Novaga - Drifting on the Echoes

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Vittorio Guindani - Una possibilità di dimenticanza

Debris of memories to reshape a possible landscape, a new memory.

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Bugis: The Seafaring People with Exceptional Navigation Skills
By Yasuhiro Morinaga

To contemplate the islands of Asia is to follow a line drawn not by borders, but by currents. From Hokkaido through Okinawa, across Taiwan and the Philippines to Borneo and Java, a chain of islands arcs across the sea like a quiet constellation. The Japanese novelist Toshio Shimao named the cultural span from Okinawa to Taiwan the Ryukyu Arc, while the Filipino composer and musicologist José Maseda described the musical cultures around the South China Sea as the “Mediterranean of Asia.” Austronesian languages—deeply connected to those of Taiwan—are spoken across this maritime expanse, spoken among the peoples of the Philippines, the Malay world, Melanesia, and Polynesia. When Asia is seen from the sea, music reveals continuities that nations cannot contain.

Among these ocean-bound cultures, the Bugis of Sulawesi emerge as extraordinary navigators. Their seafaring skills carried them westward toward Madagascar and eastward as far as Easter Island. In Taiwan, certain Indigenous words resonate with Bugis and Malay vocabularies; in Madagascar, one encounters instruments akin to those of Sulawesi; in Bugis melodies, there are moments that seem to shimmer with Polynesian memory. Sailing in outrigger canoes, they transported not only goods and beliefs but sound itself. Yet this raises a deeper question: when the Bugis reached distant shores, did they leave traces unchanged—or were they themselves transformed?

Carrying this question, I travelled to southern Sulawesi in 2017, using the gong—an emblematic and sacred instrument of Southeast Asia—as my starting point. My purpose was not to confirm a historical thesis, but to listen: to reflect, through field recording, on how tradition breathes within the present. Southern Sulawesi is shared by the Bugis, Makassar, Toraja, and Kajang peoples, and there I encountered a gong culture unlike that of mainland Southeast Asia. The gong does not reign alone; it speaks within an ensemble, interwoven with instruments of varied origins. This musical structure reflects island life itself. Migration arrived in small boats, from many directions, each carrying limited people and materials. Survival demanded cooperation. Instruments were reshaped, materials adapted, foreign elements absorbed. Music became a practice of coexistence. What we call “Bugis music” is therefore not a sealed inheritance, but a confluence of languages, cosmologies, and sounds created together.

From this encounter, I present three field recordings from southern Sulawesi. The first captures ritual music of the Biss ceremony, performed by the Biss—transgender priests recognized in Bugis society as a sacred fifth gender alongside male, female, calalai, and calabai. As spiritual mediators, they animate a ritual soundscape shaped by gendrang drums, gamal porcelain bowls, anabeting iron bars, and kanting hand cymbals—less instruments than vessels of resonance. The second recording features Dayan Mille, a leading musician from Makassar, Sulawesi, performing on the gendang drum central to Biss ritual music. The third presents young Makassar artists whose performances, at moments echoing Polynesian sonorities, weave ancestral pulse with experimental vitality.

Thus, the story of the Bugis is not simply one of departure and arrival. It is a story of transformation—of how people crossing seas reshape and are reshaped, how sound travels yet changes upon landing. The islands of Asia are not isolated points on a map but listening posts along a vast oceanic network. In their music, the Bugis remind us that culture does not stand still: it navigates.

Bio:

Yasuhiro Morinaga is a Japanese sound artist specializing in anthropology. He refines ethnographic methods by engaging in different artistic practices throughout the origins of musical instruments, the cosmology of ritual ceremonies, and the indigenous cultural identities. Morinaga's artisstic and anthropological practices encourage sensory awareness that we often overlook in our daily lives.

His artistic practices include The Voice of Inconstant Savage (2024), an immersive installation juxtaposing the Oratio recitations of the Hidden Christians in Nagasaki, Karawara songs of the Awá indigenous people of the Brazilian Amazon, and Iberian Gregorian chants, exploring discourses of savagery in the 16th century and the present, Exploring Gong Culture of Southeast Asia (2022), a transcultural field documentation on the gong music played by ethnic minorities throughout Southeast Asia, POLLINATORS (2020) is an audiovisual installation portraying the lives of Hmong beekeepers and shamans from the perspective of bees.

Morinaga also worked extensively as a music director and sound designer for films and contemporary dance, presenting at various international festivals. As a sound designer and music director, Morinaga has worked on a number of feature films and new media installations, including theatrical performances. One of his major collaborative projects was SETAN JAWA (2019), black and white silent film, directed by Indonesian film master, Garin Nuguroho. Morinaga directed music and sound using 3D spatial sound with a live music ensemble, featuring Indonesian traditional music and Western chamber music. His artistic contributions to the collaborative works have resulted in presenting at the international film festivals from Cannes, Venice, Berlin film festivals and also performed at Weiner Festwochen (Vienna), Salone Internazionale del Mobile Milano (Italy), and Venice Biennale (Italy).

Web: the-concrete.org/en

Instagram: morinaga_yasuhiro

Tracklist:

1. Yasuhiro Morinaga - Bugis: The Seafaring People with Exceptional Navigation Skills

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Bugis: The Seafaring People with Exceptional Navigation Skills
By Yasuhiro Morinaga

To contemplate the islands of Asia is to follow a line drawn not by borders, but by currents. From Hokkaido through Okinawa, across Taiwan and the Philippines to Borneo and Java, a chain of islands arcs across the sea like a quiet constellation. The Japanese novelist Toshio Shimao named the cultural span from Okinawa to Taiwan the Ryukyu Arc, while the Filipino composer and musicologist José Maseda described the musical cultures around the South China Sea as the “Mediterranean of Asia.” Austronesian languages—deeply connected to those of Taiwan—are spoken across this maritime expanse, among the peoples of the Philippines, the Malay world, Melanesia, and Polynesia. When Asia is seen from the sea, music reveals continuities that nations cannot contain.

Among these ocean-bound cultures, the Bugis of Sulawesi emerge as extraordinary navigators. Their seafaring skills carried them westward toward Madagascar and eastward across vast distances of the Pacific. In Taiwan, certain Indigenous words resonate with Bugis and Malay vocabularies; in Madagascar, one encounters instruments akin to those of Sulawesi; in Bugis melodies, there are moments that seem to shimmer with Polynesian memory. Sailing in outrigger canoes, they transported not only goods and beliefs but sound itself. Yet this raises a deeper question: when the Bugis reached distant shores, did they leave traces unchanged—or were they themselves transformed?

Carrying this question, I travelled to southern Sulawesi in 2017, using the gong—an emblematic and sacred instrument of Southeast Asia—as my starting point. My purpose was not to confirm a historical thesis, but to listen: to reflect, through field recording, on how tradition breathes within the present. Southern Sulawesi is home to the Bugis, Makassar, Toraja, and Kajang peoples, and there I encountered a gong culture unlike that of mainland Southeast Asia. The gong does not reign alone; it speaks within an ensemble, interwoven with instruments of varied origins. This musical structure reflects island life itself. Migration arrived in small boats from many directions, each carrying limited numbers of people and materials. Survival demanded cooperation. Instruments were reshaped, materials adapted, foreign elements absorbed. Music became a practice of coexistence. What we call “Bugis music” is therefore not a sealed inheritance, but a confluence of languages, cosmologies, and sounds created together.

From this encounter, I present three field recordings from southern Sulawesi. The first captures ritual music from the Biss ceremony, performed by the Biss—transgender priests recognized in Bugis society as a sacred fifth gender alongside male, female, calalai, and calabai. As spiritual mediators, they animate a ritual soundscape shaped by gendrang drums, gamal porcelain bowls, anabeting iron bars, and kanting hand cymbals—less instruments than vessels of resonance. The second recording features Dayan Mille, a leading musician from Makassar, performing on the gendang drum central to Biss ritual music. The third presents young Makassar artists whose performances, at moments echoing Polynesian sonorities, weave ancestral pulse with experimental vitality.

Thus, the story of the Bugis is not simply one of departure and arrival. It is a story of transformation—of how people crossing seas reshape and are reshaped, how sound travels yet changes upon landing. The islands of Asia are not isolated points on a map but listening posts along a vast oceanic network. In their music, the Bugis remind us that culture does not stand still: it navigates.

Bio:

Yasuhiro Morinaga is a Japanese sound artist specializing in anthropology. He refines ethnographic methods by engaging in different artistic practices throughout the origins of musical instruments, the cosmology of ritual ceremonies, and the indigenous cultural identities. Morinaga's artisstic and anthropological practices encourage sensory awareness that we often overlook in our daily lives.

His artistic practices include The Voice of Inconstant Savage (2024), an immersive installation juxtaposing the Oratio recitations of the Hidden Christians in Nagasaki, Karawara songs of the Awá indigenous people of the Brazilian Amazon, and Iberian Gregorian chants, exploring discourses of savagery in the 16th century and the present, Exploring Gong Culture of Southeast Asia (2022), a transcultural field documentation on the gong music played by ethnic minorities throughout Southeast Asia, POLLINATORS (2020) is an audiovisual installation portraying the lives of Hmong beekeepers and shamans from the perspective of bees.

Morinaga also worked extensively as a music director and sound designer for films and contemporary dance, presenting at various international festivals. As a sound designer and music director, Morinaga has worked on a number of feature films and new media installations, including theatrical performances. One of his major collaborative projects was SETAN JAWA (2019), black and white silent film, directed by Indonesian film master, Garin Nuguroho. Morinaga directed music and sound using 3D spatial sound with a live music ensemble, featuring Indonesian traditional music and Western chamber music. His artistic contributions to the collaborative works have resulted in presenting at the international film festivals from Cannes, Venice, Berlin film festivals and also performed at Weiner Festwochen (Vienna), Salone Internazionale del Mobile Milano (Italy), and Venice Biennale (Italy).

Web: the-concrete.org/en

Instagram: morinaga_yasuhiro

Tracklist:

1. Bissu Ritual Chant (Sabo Sabo-Memmang-Rangeng Rangeng)
2. Daeng Mille_Pakarena Samboritta Dance
3. A'jaga Ase (guarding the rice seeds)

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Alessandra Eramo is a Taranto-born and Berlin-based artist and vocalist whose work spans performance, installation, sound poetry, video and drawing, exploring the latent acoustic territories of the voice and noise as a socio-political matter. She develops multimedia art projects and live performances that address questions of the body, memory, migration and ecology, often incorporating participatory actions, field recordings and site-specific modes. Her current research delves into the materiality of the voice, the interplay between vocality and writing, and the performative rituals of sound.

Track 1 WATERTONGUE - Sound work for voice, field recordings, lyre harp and electronics
19’39’’
(2025–2026)
Composed and performed by Alessandra Eramo

The piece contains a documentary recording of the live performance “Watertongue”, realized on 21 June 2025 within the festival “Sonic Fragilities - Relations in Sound and Environment” at Floating University Berlin.

“Watertongue” is a site-specific performance that explores the profound relationship between the voice and the environment, resonating with the ecological memory of a mutable landscape. Through mimetic singing, water sounds, ritual gestures and narration, the voice harmonises with the surrounding environment, evoking the sounds of animals such as birds, frogs, insects and other migratory wild voices.

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Track 2 MY VOICE BECOMES THE RIVER - Audio excerpt from the video and performance work “Contemplation on Sarmento River”

4’06’’
(2018)
Composed and performed by Alessandra Eramo

I reconstructs the sound of a dry river using my singing voice and the movement of water and stones. The presence/absence of water becomes a metaphor for the mass emigration of southern Italians. The Sarmento, running through the region of Basilicata, is a "fiumara" river, or rivulet, which typically flows through southern Italy's mountainside. Although flowing with abundant water during the winter months they usually run dry during summer, the riverbeds changing into an immense grey expanse of stones. Recent decades of human intervention have significantly changed their natural equilibrium and their soundscapes. Today these watercourses are transient, just like the human desert left behind by the inhabitants when they left this region in search of a better life. The sound of the absence of water, of stones, broom flowers, bird song and valley stories is the artist's contemplation on the Sarmento River, where I spent part of my childhood with my grandmother. The video and performance create a sonic scenario as a ritual of hope for the future of the river.

4’34’’
(2024)
Field recording and voice performance by Alessandra Eramo

In December 2024, I deepened my research into the relationship between voice, environment, and water through the "River Song" workshop that I conceived and led, alongside a live performance at Sarai in New Delhi, as part of the Listening Academy. Here in New Delhi, along the riverbanks of the Yamuna - one of the world’s most polluted rivers - I made field recordings and sang an ancient lament from the Morojola tradition in Griko, a minority language still spoken in Salento, southern Italy, as a ritual of transformation, of death and of passage between worlds.

Tracklist:

1. WATERTONGUE
2. MY VOICE BECOMES THE RIVER
3. RIVER SONG

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Tracklist:

1. Merche Blasco - BARDENAS
2. Merche Blasco - EEMF02

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Vaca Muerta is a geological formation in northern Patagonia turned into one of the largest unconventional hydrocarbon fields on the planet. Over the past years I traveled to Añelo, the epicenter of this extraction grid, with the collective research projects Geonnitus and Memorias de Terraformación. There I recorded with geophones, contact mics, and field recording setups.The machinic noise cuts through everything: day and night, surface and depth. But it's not the only audible frequency. Añelo remains a rural town on ancestral Mapuche land, where human and non-human communities hold a fragile coexistence that fractures the promise of prosperity and its mono-narrative of extraction.This piece listens to those couplings: subterranean drones, wind currents, soil vibrations. The recordings are unmanipulated beyond selection and juxtaposition. An acoustic map of an infrastructure that reinscribes the territory.

BIO

Florencia Curci is a sound artist and researcher working with field recordings and transmission practices in remote territories. Her projects explore how listening can reveal the frictions between imposed narratives and local histories, developing site-specific and radiophonic works that reconfigure our relation to place.

Tracklist:

1. Florencia Curci - Vaca Muerta

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Listening with Cracolândia

Brazil. Downtown São Paulo. Luz District.

For a year and a half, every single week, we made the same trip, leaving our privileged neighborhoods behind and heading straight into one of the most unequal territories of the city.

Cracolândia. Boca do Lixo.

A place both feared and forgotten — yet full of life, stories, and sound.  

It’s in the heart of the largest city in the Southern Hemisphere that thousands live in extreme vulnerability—lives marked by violence, abandonment, and the lack of basic rights.

Former prisoners, sex workers, migrants, and people forced out of their homes for being who they are. They gather in this territory, where drugs are less a choice and more a fragile way of surviving. 

We walked through Cracolândia with our microphones, hoping to capture what — we quickly realized – could not be recorded.

A landscape of human intensity that escapes microphones and refuses simplification. 

///

A composition created from field recordings and interviews conducted between April 2023 and June 2024 in the Cracolândia area, in downtown São Paulo. Soundscapes, voices, music, and memories intertwine to reveal the depth of human relationships and the complex realities of those living on the margins of society—people whom few are willing to listen to truly.

Credits:

Concept and sound editing: Lílian Campesato and Valéria Bonafé

Field Recordings: Lílian Campesato, Valéria Bonafé and Gustavo Branco

Places: Luz metro and train station, Sala São Paulo Foyer, Bar da Nice, Rua dos Protestantes (Fluxo), Marcha da Maconha (Paulista Avenue), Rua Mauá, Teatro de Contêiner.

Voices: MC Docinho (Aline Cristina Rodrigues), Nise (Ivanise Rocha), Regina, Miriam, Renatinho (Renato Oliveira Júnior), Raimundo, Fofão and Corinthiano.

Sound Mixing: Fernando Iazzetta

Music: symphonic music by Osesp, “Cigarreiro” by Regina. “Paro, analiso”, MC Docinho (Aline Cristina Rodrigues) and DJ Zazá (Isaías Barbosa), roda de samba by Pagode na Lata.  

Bio

Microfonias: invention and sharing of listening

microfonias.net

Developed by Brazilian artists and researchers Lílian Campesato and Valéria Bonafé, Microfonias: invention and sharing of listening is a practice-based research project that weaves together artistic creation and theoretical reflection. Through relational actions, we experiment with and reflect on the ethical, poetic, and political dimensions of listening. Since the beginning of our activities, we have relied on non-conventional methodologies such as conducting recorded conversations, collecting audio testimonies, exchanging artistic correspondences, writing affective reports from listening, and exploring alternative formats of writing and publishing, among others. Our most recent research, Dis-inhabiting Listenings: Listening in Dispute in Cracolândia, engages a series of participatory artistic actions to foster critical reflection on an urban reality marked by extreme social, economic, and political contrasts. The project seeks to imagine new ways of listening to the relationships and tensions between people, places, and contexts.

Lílian Campesato (1981)

liliancampesato.net

 Artist, researcher, and curator. Her work directly engages with the idea of performing listenings—whether intimate or strange—revealing both how she listens to herself and how she shares this listening with others. Her academic and artistic research has increasingly merged in an attempt to develop an approach grounded in what is particular, subjective, and affective.

Valéria Bonafé (1984)

valeriabonafe.com

 Artist, researcher, educator, and curator. Her practice integrates creative, investigative, and pedagogical processes centered on sound and listening, unfolding in an interdisciplinary field between music, sound art, sound studies, and artistic research, approached through decolonial and feminist perspectives.

Tracklist:

1. Lílian Campesato and Valéria Bonafé - Listening with Cracolândia

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Gardens of Christiane. The Palestine from before

26m12s

Authors: Anamaria Pravicencu and Manja Ristić, 2025


In the shade of Palestinian gardens, memory once bloomed — fragrant with olive groves and the quiet gestures of care. These were spaces of closeness, where the Mediterranean breathed through shared rituals of tending and living in harmony with the land. Rooted in practices of cultivation, refuge, and sensory proximity, such intimacy has been systematically disrupted by the colonial project of the Israeli state, which reconfigured land into instruments of control and dispossession. Today, the relational fabric of Palestinian landscapes lies fractured — yet the soil remembers.

Through powerful storytelling, family history, and enduring friendship, this piece gathers what remains: the rustle of leaves under siege, the echo of footsteps in forbidden groves, the persistence of tenderness in a terrain marked by erasure. It traces how ecological and cultural memory endure despite spatial fragmentation and political violence.

Manja Ristić engages with sounds gathered from war-torn landscapes and towns across the former Yugoslavia, from WWII memorial sites to intoxicated rivers — bearing witness to how the land carries its wounds in silence, while the echoes of war still tremble through every pore of the heart.


Interviews and story: Anamaria Pravicencu with the support of Maya Nasser
Sound design and musical composition: Manja Ristić
Presentation text: Manja Ristić
Mixing: La Plant Studio, Belgrade
A production of SEMI SILENT and Tranzit.ro.

The first version was presented in the frame of To Give a House the Form of an Event, a program by Tranzit.ro at the Experimental Station for Research on Art and Life, Silistea Snagovului, Romania, June 2025.
The present form, with the invaluable contribution of Manja Ristić, was premiered at Orizont Sonor festival, in the Botanical Garden of Bucharest, September 2025.

www.semisilent.ro


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

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

Tracklist:

1. Anamaria Pravicencu and Manja Ristić - Gardens of Christiane. The Palestine from before

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An archive of butterfly wing cut effects with raindrops in Brussels

Den Haag, the high peak of bird conversation

Taipei summer when I’m watering the moss

Several different recording equipment,

Unfold places piece by piece

From narrow to vast

Dry water,

Fire crackers,

High-end wet space,

Absorb aluminum,

Microphone chewing,

Feathers intervene

A dot, a scratch

Repeatedly

Don’t talk to me.

Tzu Ni is a Taiwanese artist currently based in the Netherlands. She believes in the flexibility of human bodies and views the intersection of technology and humanity as a sweet spot, seeks the balance between institutional and non- institutional contexts. Her practice explores the entangled relationship between sound, gender, and space, often through multichannel sonic installations, field recordings, and text-based narratives that emerge from subconscious memory. Working at the intersection of embodied listening and spatial poetics, she constructs environments where sound becomes a medium of intimacy, resistance, and relational knowledge.

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Composed/Written by: Marie de la nuit Recorded by & where & when: Marie de la nuit, between 2021 and 2022, between Vannes and Reims Instruments (if applicable): Bombardes by Youenn Le Ret and by Le Bagad de Vannes Other personnel: with the voices of Bdira, Anne-Marie Le Gall and celtic ghosts Mastered by: Elisa Grenet Mixed by: Marie de la nuit Photo credit: Collection Georges Cadoudal Record edited by : Permanent Draft - Fanny Chiarello & Valentina Magaletti Published by: State51 Graphic design by: Louise Mason Visual identity by: Maeva Pensivy

Born in 1980, Marie Guerin, a French sound artist (Banc d’Essai INA-GRM prize in 2013, Sacem Musique Concrète prize in 2015, Phonurgia Nova Price - Archives de la Parole 2018), working with sound recordings and radio archives, captures and manipulates the traces left on the radio waves by «Hertzian ghosts». She works for the stage or for radio (France Inter, France Culture, Nova, Deutschlandradio Kultur, France Musique, Radio Campus, Kontakte 2017 - Biennale de musique électroacoustique et d’art sonore, RTBF, RSR,...) A mixture of voices, textures, grain, anecdotal sounds, her work is an interrogation of our shared audio heritage, of its medium and the traces left by these media. Her music ranges from radiophonic grammer to «musique concrète», from documentary poetry and eletroacoustics.

Coming from the world of documentary reporting, Marie Guérin tries to adapt the radio documentary narrative to the stage. Convinced of the power of the voice and the strength of the soundscape and of that raw material, which is picked in the real, she wishes to move beyond classic

radio broadcast to take this genre outside of the radiophonic world, to hear the voice in another way, to hear the beauty of the soundscape documentary on the stage.

“Led by my interest in early recordings, I came across the ‘Lautarchiv’, archives dating from 1914-1918. In German camps, prisoners of war were recorded singing in their native language as part of an initiative led by the linguist Wilhem Doegen. In this strange ‘musical performance’, I discovered a refrain in Breton, the language of my ancestors. How can I – 100 years later – re-appropriate for myself this refrain? How can one take over the recordings of the researcher and transform them into music suitable for the 21st century?Marie Guerin

Tracklist:

1. Marie de la nuit - TRANSPORTEES

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Album: Fairly Used

Year: 2025

Artist: Nicolussi

Label: Falt (digital) & Epileptic Media (cassette)

Release Date: 12.05.2025

Composed, performed, recorded*, produced, mixed and mastered by Nicolussi.

*performance recording at FLUCC Vienna by Lukas Weidmann.

*performance recording at KAPU Linz by Topi Piirainen.

Composed, performed and recorded in 2024.

Arranged, produced, mixed and mastered in 2025.

Fairly Used Project Description:

For the audiovisual show Fair Use, developed and performed by Nicolussi in 2024, obsolete media and abandoned data carriers such as Mini DV, cassettes and Dictaphone tapes were highlighted. Fair Use features an experimental film projection edited and processed from found footage as well as a musical improvisation composed in real time. During the performance the artist is hidden behind a translucent projection surface, blurring the relationship between nostalgia and reality. Fair Use opens a wide range of possible interpretations and questions with borrowed originality, pirating in artistic creation and cautious handling/misuse of sensitive data as central themes. For the EP Fairly Used recordings of rehearsals and live performances were edited and rearranged into complete tracks. The base material was recorded while rehearsing in Vienna and while performing at FLUCC in Vienna and KAPU in Linz.

“A few years ago, when I started to collect the first analog Dictaphones running on micro cassettes to resample my sound designs in a lo-fi manner, I was ripped off regularly. People (knowingly) sold their unusable trash claiming that it still works. Whenever I threw out the Dictaphones I could not fix, I would keep the precious cassettes of course. Lucky enough to also score some working voice recorders, I realized that most of the worn-out tapes people passed on to me to make their offer bearable for their guilty conscience still had some audio recorded. That’s what you get, I guess. Over the years I grew a chaotic archive of obsolete media carrying different kinds of data. Lawyers recording their cases, plumbers accidentally recording themselves on the way to a client, kids reading jokes to their friends, the answering machine of a dentist, two lovers sending back and forth a micro cassette with cheesy poems they recorded – you name it. I continued to unearth eerie, secret, intimate, obscure and interesting recordings not meant for my ears nor for a wider audience. While incorporating these snippets into live performances, productions and improvisations, ethical questions began to rise, and I learned to treat this delicate information with the respect necessary. It’s uncertain where this interest leads to in the future. For sure it took me to some strange places already – with this collection of tracks I’d like to share some of them.”

- Nicolussi

The EP Fairly Used releases on May 12 th , 2025, via Falt (digital) and Epileptic Media (cassette).

falt.bandcamp.com

epilepticmedia.bandcamp.com

Nicolussi Bio:

Nicolussi performs in numerous projects, composes for theater and film and co-runs the cassette label Epileptic Media. Analog and digital systems of chance, processed field recordings and everyday noises form the basis for his heavily manipulated sound designs. He released on various labels including Objects & Sounds, Abhorrent A.D., Beach Buddies Records, Interstellar Recordings and A.T.C. Records.

nicolussi.bandcamp.com

Tracklist:

1. Nicolussi – Fairly Used I
2. Nicolussi – Fairly Used II
3. Nicolussi – Fairly Used III
4. Nicolussi – Fairly Used IV
5. Nicolussi – Fairly Used V
6. Nicolussi – Fairly Used VI

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at least according to the data currently available.

First, a clarification:
This is not a meditation session.
Nor is it a sleep-aid soundtrack.

Our objective is to scientifically examine the potential of sound
to interfere with the mechanisms of falling asleep,
and to further assess whether it can influence the very emergence of dreams.
Yes — according to recent literature, the existence of dreams
may not be a given,
but rather a technologically alterable byproduct.

Please keep in mind: this is not white noise.
White noise is too uniform. Too safe.
What we have created is a sonic environment engineered through acoustic interference,
designed to maintain you in a delicate yet essential condition —
the boundary zone between wakefulness and dreaming.

This is the technical version of falling asleep.
It is not gentle, but it is precise.
It is effective —
and aesthetically,
it contains a certain… probability of failure.

Now, please adjust your breathing rate to eight breaths per minute.
Lie down. Close your eyes.

The experiment is about to begin.
Do not attempt to control the dream,
because —
it may no longer belong to you.

BIO:

Chen Qin Yi is a sound experimenter , currently preoccupied with the auditory mechanics of memory, material, and sleep. 

Her practice traverses field recording,performance. 

Recent projects include investigating sonic interventions in sleep cycles, improvisational dialogues with abandoned machines, and translating stone vibrations into narrative data.  

Her works often reside in unstable territories — somewhere between consciousness and dream, system error and signal flow.

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From Codex amphibia (phototaxis)

Phonotaxis (uncountable) Noun: (physiology) The ability to move in an orientation with respect to a source of sound.

By questioning phonotaxis between species in explosive breeding in the Amazon, i.e. the existence or absence of interspecific relationships, in sound, we necessarily undertake to question how we, humans, perceive an environment. The abrupt change in dynamics induced by the phenomenon is also ours, and we find ourselves physically and mentally included in a process that escapes us. We are disturbed, attracted, fascinated, but we have no real grasp nor control of the moment, of its stakes, of the strategies it deploys. We listen, observe, record, film, without being able to go beyond the stage of interpretation.

These events unsettle us cognitively but also culturally in that they shatter images linked to a context. They are neither the expression of an equilibrium nor of a supposedly hostile nature. On the contrary, they feature an imbalance, a brutal and sudden disruption of the order of things whose only purpose is the continuity of the living. They are making sense to the animal world just like the irrationality of a concert of noise music or an overflowing crowd does to the human world. It is no longer about sharing but about saturating space, an exaggeration of the spectra of light and sound. This overrunning of dynamics may only make sense in its very short-lived nature; an extreme brevity that transforms localised spaces such as ponds into autonomously functioning areas, distinguishing itself from the forest network to later reintegrate it better by feeding it with new beings. The breeding begins its pre-explosion phase in some heterogeneity with the place. It then asserts this overrunning in the explosion and post-explosion phases, and finally reconnects with the surrounding area. The animals then disperse and the hundred acoustic decibels of the explosion give way once again to a forest whose audible spectrum seems to be precisely distributed.

Explosive breeding events hold their power over this environment, these surroundings, imposing themselves onto bodies and tree trunks; moving away or attracting other species and even able to neutralise some of them (a herpetologist friend of mine told me that after a few hours on an explosive pond the effects of the sound made her vomit). The species taking part in these gatherings seem to prefer the univocity of a saturated sound spectrum than their own phonemes. It is no longer single “voices” that are emitted and received, but their accumulation into a wall of noise. Once again, the interpretation of a datum only opens up questions about what we understand of the situation and the ontological prisms through which we perceive it.

The experience of explosive events induced in me the paradoxical feeling of being an intruder at the right place, the listener/spectator of a ritual intimately resonating with my stubbornness in seeking a confrontation with this kind of environment. The principle of phonotaxis observed in these animals is natural, while my attraction to and towards this noise is cultural. However, we have no more control over the mechanisms that activate animal phonotaxis than we do over those that push us to flee or immerse ourselves in a pool of high frequencies. Fascination with these sounds alone, as well as the only analogy with the musical aesthetics that have led to this, are not (or no longer) enough, in my opinion, to explain the ambiguous relationship we keep with this context. We are unsettled by what is not us but seems to function along similar modalities.

While the first part of this work – Codex Amphibia (an interpretation of the explosive breeding phenomenon – Glistening examples 2018) – raised the question of the interpretation of non-human languages, Codex Amphibia (Phonotaxis) deals with the peak of the explosion as a reference point for an environment. The recordings and compositions resulting from this fieldwork explore the core of the phenomenon and the porosity towards its surroundings, which are made of other dynamics, other timbres of human and non-human origins. These pieces have been produced through our field observations and, in parallel, with a research work conducted by Antoine Fouquet and myself with the help of a team of volunteers, later detailed by Antoine and several collaborators in the article “HETEROSPECIFIC CHORUS ATTRACTION IN TROPICAL FROGS”. Through the meeting of both our scientific and artistic approaches; a hybrid method that pushes our questioning and paradoxes further, we hope to expand the possibilities of a different relationship with this forest.

Tracklist:

1. Thomas Tilly - Phonotaxis#3

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BIOS:

Flora Yin-Wong is a sound artist who in 2023 launched a label and publishing house, Doyenne, releasing anthologies including works from the likes of Mahler & LeWitt past resident Heather McCalden, writers Mira Mattar, musicians Lucinda Chua and Lisa Lerkenfeldt and more. 

She has been commissioned by and presented live at international galleries like Palais de Tokyo in Paris, MACRO Roma, Fondation Beyeler Basel, Triennale Milano, Somerset House, The V&A Museum and Cafe OTO London, ISSUE Project Room New York, Volksbuhne Theatre Berlin, and Spielhaus and SHEDHAlle Zurich. Her music has been released on labels like Modern Love, PAN, Shelter Press, and Danse Noire etc.

Ciro Vitiello is an electronic artist from Torre Annunziata based in Milan. His last work, “The Island of Bouncy Memories” was released on Hundebiss & Haunter Records in 2024.

Tracklist:

1. Flora Yin-Wong & Ciro Vitiello - Bedtime Stories

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Yaghya

Il materiale sonoro è stato registrato nell’ottobre del 2024 durante una permanenza all’Ashram fondato da Lisetta Carmi a Cisternino, in Puglia. Yaghya è un rituale collettivo, una delle cerimonie che si svolgono durante i nove giorni di festa di Navaratri, attorno ai quali si raccoglie temporaneamente la comunità.

La composizione stratifica una serie di riprese ambientali riprocessate attraverso sintesi granulare e ricampionamenti, muovendosi sul confine tra documentario e fiction.

Tredicesimo Segno è un ricercatore indipendente, co-fondatore della label di musica sperimentale e IDM, LIF.

Come produttore, processando field-recordings e found-sounds con suoni creati analogicamente e digitalmente, al momento si concentra sulle infinite possibilità generate dalla frammentazione del suono.

Artwork: Valentina Bonsignore Zanghi (@bon_zanghi)

https://linktr.ee/tredicesimo_segno

https://www.instagram.com/tredicesimosegno?igsh=aGd4MmsyazV2ZXR1

https://soundcloud.com/user-12217374?ref=clipboard&p=a&c=1&si=a8f029dc0e864d5db9afec7b20d77f42&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://lysergicinductionforge1.bandcamp.com/

https://soundcloud.com/lysergic-induction-forge

Yaghya

The sound material was recorded in October 2024 during a stay at the Ashram founded by Lisetta Carmi in Cisternino, Puglia. Yaghya is a collective ritual, one of the ceremonies that take place during the nine days of Navaratri, a time when the community gathers temporarily. The composition layers a series of field recordings, reprocessed through granular synthesis and resampling practices, navigating the boundary between documentary and fiction.

Tredicesimo Segno is an independent researcher and co-founder of the experimental music and IDM label LIF. As a producer, he processes field recordings and found sounds alongside sounds created both analogically and digitally, focusing on the infinite possibilities that emerge from the fragmentation of sound.

Artwork: Valentina Bonsignore Zanghi (@bon_zanghi)

https://linktr.ee/tredicesimo_segno

https://www.instagram.com/tredicesimosegno?igsh=aGd4MmsyazV2ZXR1

https://soundcloud.com/user-12217374?ref=clipboard&p=a&c=1&si=a8f029dc0e864d5db9afec7b20d77f42&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://lysergicinductionforge1.bandcamp.com/

https://soundcloud.com/lysergic-induction-forge

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Agrupación Sonora Dragón del Sur

Bloque 1 - obras individuales

Luciano Piccilli

Rebelião das nuvens , 2024 ,  8’08’’ (Residencia Virtual Binaural Nodar)

Luciano Piccilli - Rebelião das nuvens.mp3Cuando ocurrió el 25 de abril de 1974, la región de Lafões entró en una efervescencia cultural, visible en el espíritu festivo de las manifestaciones sociales del pueblo. Gregório Silvestre, un migrante portugues que regresaba a su tierra trás años en Brasil, sintió la necesidad de registrar aquellos momentos que tuvieron lugar en su tierra montañosa, y armado de una grabadora de casetes logró capturar fiestas, conversaciones y algunas reflexiones profundas acerca de su pueblo. Este ensayo intenta re-imaginar la figura de G. Silvestre a partir de su colección archivística personal. Hay una idea de reconstruir un territorio a través del “lente” de un personaje desconocido y físicamente distante. 

Julián Di Pietro

Hazte luz en la represa (work in progress), 2021, 11’46’’

Julian Di Pietro - Hazte Luz en la Represa.mp3

La recuperación de una memoria total, imparcial y completa, es la engañosa quimera de los moralistas. “Hazte luz en la represa” es parte de una serie de exploraciones sobre la fragmentación. Programado algorítmicamente e intervenido en tiempo real con una intención gestual y política, un archivo de audio fragmentado en treinta mil partes, va descubriendo su completitud a través del tiempo, y encuentra sentido a través de la maleza digital de glitches y samples. 

Angel Salazar

Cosmogonías II,  2019. 3’36’’

Angel Salazar - Cosmogonías II.mp3

Esta pieza explora la idea de cosmovisiones de América del sur con otros pluriversos humanos. A través de grabaciones de campo, sampleo de percusiones y síntesis de audio, el track conecta estas frecuencias con posibles redes de existencia ocultas en el planeta, revelando interacciones que trascienden la traducción y evocan un planetario.

Látigx aka Julia Rossetti

La escucha de un tallo, 2023. 4’

Latigx - La escucha de un tallo.mp3

Pieza sonora para el proyecto homónimo de Estefanía Santiago, realizado en el marco de la Residencia Jardín de Todo, en Espacio de Todo, Todo Por La Praxis. Madrid, Diciembre 2023.

Sampleo de grabaciones de campo y de tutoriales de YouTube.

vimeo.com/899304786 

Bloque 2 - improvisación colectiva

Agrupación Sonora Dragón del Sur

Improvisación en vivo desde el Piso 29, 3 de agosto de 2024, Buenos Aires, Argentina. 31’44’’

ASDS - Improvisación desde el piso 29.mp3

Una confluencia de reverberaciones, ecos, ritmos tardíos, ruidos y entidades se unen armando una sintonía terrestre. Transmisión especial para Radio Monteaudio (UY)

BIO

Agrupación Sonora Dragón del Sur es un ensamble de máquinas y objetos percutibles que a través de la improvisación y experimentación sonora indaga en torno a ritmos, paisajes y ritualidades de América Latina.

Desde inicios de 2024 produce encuentros en espacios culturales y no convencionales con especial interés en la acústica, la grabación y la transmisión radiofónica de estas experiencias colectivas; conectando artistas, audiencias y territorios.

@asdragondelsur

Julian Di Pietro (La Plata, AR, 1982). Artista sonoro, músico y productor. Su trabajo más reciente está enmarcado en la exploración de espacialidades tanto en el registro sonoro como en la producción en estudio. También indaga en las posibilidades poéticas de la programación de sonido y en la improvisación interviniendo electrónicamente grabaciones de campo. Participó en festivales y exposiciones en Madrid, Bogotá, Mónaco, Corrientes, CABA y La Plata.  

https://juliandipietro.bandcamp.com/music 

@julian.di.pietro 

Luciano Piccilli (Posadas, AR, 1991). Artista y Diseñador de Imagen y Sonido. Realizó estudios de posgrado en Música Expandida y Arte Sonoro (UNSAM, UNTREF). Es autor del videojuego exploratorio Montaña Azul, ganador del 1er Premio en la Bienal de Diseño de la UBA (2017) y 3er Premio en EVA.  El sonido, la memoria y el territorio son constantes conceptuales en su trabajo. A través del desarrollo de dispositivos tecno poéticos aborda la intervención de sitio específico poniendo en tensión materialidades  y espacios vinculados a lo afectivo. Ha participado en exhibiciones en Argentina, Perú, Colombia, Estados Unidos, España, Portugal e India. Actualmente integra el grupo de investigación y acción artística “Espacios del Arte Sonoro” (UNTREF). 

https://vimeo.com/user25184840

@lucianopiccilli

Julia Rossetti aka Látigx (Corrientes, AR, 1986). Artista transdisciplinar. El paisaje y el ritual se mixturan en su práctica con relatos autobiográficos, referencias literarias y musicales, registros documentales y grabaciones de campo; tomando múltiples formas -desde piezas textiles, audiovisuales y sonoras hasta publicaciones, experiencias relacionales, performáticas e instalaciones de sitio específico. Su trabajo fue exhibido en y a través de proyectos e instituciones de Argentina, Paraguay, Brasil, Chile, Uruguay, México, España, Italia y Taiwán.

linktr.ee/Julia.Rossetti

@latigx

Angel Salazar (Guayaquil, EC, 1988). Artista de medios electrónicos. Su práctica se desarrolla de manera transdisciplinar entre el arte y la tecnología, explorando diversas narrativas sobre la post-naturaleza desde cosmovisiones del sur mediante el uso especulativo de objetos de fabricación digital, composiciones sonoras y el diseño de dispositivos tecnológicos. Su trabajo ha sido exhibido en espacios como el Festival Ars Electronica (Aut), La Box Gallery (Fr), FACTO 11 (Br), Piksel 2022 (No), entre otros.

https://salazarangel.com/ 

@__salazarc__ 

Tracklist:

1. Agrupación Sonora Dragón del Sur - Improvisación en vivo desde el Piso 29, 3 de agosto de 2024, Buenos Aires, Argentina
2. Luciano Piccilli - Rebelião das nuvens
3. Julián Di Pietro - Hazte luz en la represa
4. Angel Salazar - Cosmogonías II
5. Látigx aka Julia Rossetti - La escucha de un tallo

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Questa particolare sperimentazione, come notabile dal titolo, è formata da due macrodimensioni, le quali coesistono e si alternano come due voci in conversazione: due anime che, dapprima, si concedono reciprocamente spazio, per poi fondersi in densi flussi sonori affini, perdendosi e ritrovandosi in una sintesi creatrice di una nuova via narrativa.

Da un lato la pioggia e registrazioni di legno che, sotto il peso delle gocce, risuona e si arcua in un continuo battito liquido. Un crescendo silenzioso di impliciti rituali notturni, una danza che, tra conscio e inconscio, invita all’abbandono nel sonno e nell’abbraccio caldo del letto. Dall’altro, voci smembrate, risate rotte, segnali sonori filtrati, una distorsione sensoriale che porta con sé armonizzazioni organiche, risonanze che dipingono come un quadro un piccolo paesaggio lacustre. Un lago, e di fronte a esso, una città: inchiodata nel tempo, simbolo di una civiltà sospesa, un luogo immobile in un arzigogolo di ferro, marmo e cemento.

Bio: Devotee to Soundscape Ecology and music researcher, Atoloi is the main project of the Milan-based Matteo Ghiringhelli (1997), which explores sound through a mellow amalgam of layers of echoing synths, processed field recordings, and self-created samples; all mixed in a lysergic experience of heavy-grained noises and evocative instrumental compositions.

Not sticking only to club-oriented sonorities, instead, his productions and mixes search for other depths, in which the listener can get lost in a dense "no boundaries" journey between the worlds of dance and meditation.

In a career path alternating dance-focused releases and more intimate ambient/field recording explorations, his music space fluidly through variegated environments such as sweaty clubs or festivals and musicology-related performances in museums or deep listening dedicated spaces.

Tracklist:

1. Atoloi - Prima Di Dormire/Febbre In Una Città Di Lago

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Tracklist:

1. Derrière la mer
2. La vie en Bleu
3. Untitled (the stranger, the water and what I am)

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Des bruits / Takai suru est un instantané conçu comme un carnet de voyage aux sources d’un voyage de six semaines au Japon. Entre avril et juin 2024, j’ai passé 6 semaines au Japon. J’ai obtenu une bourse de l’Institut français, qui m’a permis de réaliser des enregistrements de terrain à travers le pays. J’ai voyagé dans différentes régions du Japon : la région du Kansai (Kyoto, Osaka), mais aussi à Tokyo et au nord de Tokyo (à Tochigi et Nikko), sur l’île de Shikoku, les îles de Shikoku, Ise et Matsue, etc. 

Cette composition est un work-in-progress d'un travail plus ambitieux qui sera un recueil de pièces de mon premier voyage au Japon, que j'aimerais voir développées sous différentes formes (album de compositions, composition spatialisée, composition mixte pour performance live). 

Cette expérience et ce premier voyage au Japon ont décentré mon rapport à l'écoute, puisque les sons que j'ai pu entendre lors de mon séjour là-bas différaient de mon environnement habituel... La pièce que nous allons entendre est un montage sonore composé d'enregistrements de terrain et de quelques enregistrements réalisés avec des musiciens japonais avec lesquels j'ai collaboré et joué sur place. Elle tente de raconter une histoire contrastée de l'hyper-modernité et de l'omniprésence du son dans les villes, et une histoire de l'invisible et des esprits, de ces lieux sacrés et mystiques 

Biographie :

Delphine Dora est une musicienne intuitive, improvisatrice, compositrice, née en 1980. Travaillant principalement avec des instruments à clavier (piano, orgue à tuyaux, clavier électronique…), sa musique s’est enrichie ces dernières années de l’ajout d’enregistrements de terrain à ses compositions. La voix est également l’un de ses instruments de prédilection, puisant tantôt dans le langage des poètes, tantôt dans un langage imaginaire, un langage libéré de tout signifiant, une voix fragile et incarnée, archaïque, mystique et libre. Sa musique iconoclaste embrassant l’instinct et la catharsis émotionnelle, peut se lire comme un travail de cartographie personnelle, fondé sur une approche intuitive de la composition et nourri de nombreuses approches. Son travail mystérieux et spirituel explore la question de l’indicible, du sacré, du temps altéré et des lieux réels/imaginaires, l’exploration de nos identités et altérités complexes et multiples. Depuis plus de 15 ans, elle développe un univers musical intimiste et pluriel, en perpétuelle métamorphose, parfois dépouillé, parfois richement élaboré, situé au croisement de différents genres musicaux (musique folk, musique minimaliste, musique improvisée, musique électroacoustique, musique noise, etc.) et langages (anglais, français, allemand, langues imaginaires, etc.). 

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Album: Fairly Used

Year: 2025

Artist: Nicolussi

Label: Falt (digital) & Epileptic Media (cassette)

Release Date: 12.05.2025

Composed, performed, recorded*, produced, mixed and mastered by Nicolussi.

*performance recording at FLUCC Vienna by Lukas Weidmann.

*performance recording at KAPU Linz by Topi Piirainen.

Composed, performed and recorded in 2024.

Arranged, produced, mixed and mastered in 2025.

Description:

For the audiovisual show Fair Use, developed and performed by Nicolussi in 2024, obsolete media and abandoned data carriers such as Mini DV, cassettes and Dictaphone tapes were highlighted. Fair Use features an experimental film projection edited and processed from found footage as well as a musical improvisation composed in real time. During the performance the artist is hidden behind a translucent projection surface, blurring the relationship between nostalgia and reality. Fair Use opens a wide range of possible interpretations and questions with borrowed originality, pirating in artistic creation and cautious handling/misuse of sensitive data as central themes. For the EP Fairly Used recordings of rehearsals and live performances were edited and rearranged into complete tracks. The base material was recorded while rehearsing in Vienna and while performing at FLUCC in Vienna and KAPU in Linz.

“A few years ago, when I started to collect the first analog Dictaphones running on micro cassettes to resample my sound designs in a lo-fi manner, I was ripped off regularly. People (knowingly) sold their unusable trash claiming that it still works. Whenever I threw out the Dictaphones I could not fix, I would keep the precious cassettes of course. Lucky enough to also score some working voice recorders, I realized that most of the worn-out tapes people passed on to me to make their offer bearable for their guilty conscience still had some audio recorded. That’s what you get, I guess. Over the years I grew a chaotic archive of obsolete media carrying different kinds of data. Lawyers recording their cases, plumbers accidentally recording themselves on the way to a client, kids reading jokes to their friends, the answering machine of a dentist, two lovers sending back and forth a micro cassette with cheesy poems they recorded – you name it. I continued to unearth eerie, secret, intimate, obscure and interesting recordings not meant for my ears nor for a wider audience. While incorporating these snippets into live performances, productions and improvisations, ethical questions began to rise, and I learned to treat this delicate information with the respect necessary. It’s uncertain where this interest leads to in the future. For sure it took me to some strange places already – with this collection of tracks I’d like to share some of them.”

Nicolussi

The EP Fairly Used releases on May 12 th , 2025, via Falt (digital) and Epileptic Media (cassette).

falt.bandcamp.com

epilepticmedia.bandcamp.com

Nicolussi Bio:

Nicolussi performs in numerous projects, composes for theater and film and co-runs the cassette label Epileptic Media. Analog and digital systems of chance, processed field recordings and everyday noises form the basis for his heavily manipulated sound designs.

He released on various labels including Objects & Sounds, Abhorrent A.D., Beach Buddies Records, Interstellar Recordings and A.T.C. Records.

Tracklist:

1. Nicolussi – Fairly Used I
3. Nicolussi – Fairly Used II
5. Nicolussi – Fairly Used III
7. Nicolussi – Fairly Used IV
9. Nicolussi – Fairly Used V
11. Nicolussi – Fairly Used VI

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Leo Okagawa - bio

Leo Okagawa is a sound artist based in Tokyo, Japan. He started recording environmental sounds in 2014, and around that time he started making multilayered collage works from elements of recorded sounds, analog machine’s noise, and simple electric tones. His works were released from the labels in many countries.

He has also been working on an improvised performance since 2017. Using some electronic devices, he explores the structural possibilities of sound through the combination of simple tones.

In 2022, he started his own record label, “zappak”, and has been publishing music by other artists on CD. In addition, as one of the label’s activities, he also organizes live performances for other artists.

Tracklist:

1. Savvas Metaxas / New Relics II - 4
2. uœrhe / even though the night has fallen
3. Mark Vernon / Pouring from Hollow to Empty
4. Rev. Dwight Frizzell / Scrat
5. Russell Walker & Henry Holmes / The Tear System - Side B
6. Francisco Meirino / Something Always Remains
7. Leyden Jars / Assent
8. Manja Ristić, Joana Guerra, Verónica Cerrotta / Diario de sueños
9. Agnus Carlyle / Powerlines
10. Yannis Kyriakides / Hypnokaséta I
11. abstract poem / out of the aether

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Tracklist:

1. A- INTOXIQUÉS PAR LA LUNE (voices: Félix Gatier, Céleste Gatier) 15:14 mn
2. B- TAKEMUSU 16:05 mn

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Tracklist:

1. Tracklist:
2. Ludwig Berger & Fabian Gutscher – Reservoir Lyren
3. Tomoko Sauvage – Waterbowls Live at Lyren
4. Christian Zehnder – Embrional Stream
5. Saadet Türköz – Exhibition of the Voice
6. Jen Reimer & Max Stein – Lyren

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Tracklist:

1. Li Yilei - Environment as metronome

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Epistole sonore: luci e ombre intime

Luis Costa & Ana Rodríguez

Due persone dedite all'arte dei suoni vivono in due regioni rurali agli antipodi, in Portogallo e Uruguay. Nel 2018, condividono lettere sonore con impressioni, suoni e voci del loro mondo esterno ed interno. Nel 2024 decidono di rivisitare e selezionare parte di questo materiale.

Tracklist:

1. Epistole sonore: luci e ombre intime
2. Luis Costa & Ana Rodríguez

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Glauco Salvo

Field Studies Vol. 6

Sounds from the swamp – Padule di Fucecchio

Field Studies Vol.6 è un lavoro audio sul Padule di Fucecchio, realizzato in occasione della partecipazione al progetto Padule Soundscape Archive a partire da registrazioni ambientali raccolte sul posto, poi rielaborate in studio attraverso loop su nastro magnetico e un sintetizzatore Doepfer A-100. 

Nonostante sia un luogo estremamente silenzioso e tranquillo, il Padule può essere a tratti anche aspro e inospitale, e le tracce che compongono il lavoro cercano di riflettere questa particolarità.

Field Studies Vol.6 è disponibile su cassetta e in formato digitale scaricabile gratuitamente.

Padule Soundscape Archive è un progetto di Nub Project Space realizzato con il supporto di Fondazione Cassa di Risparmio Pistoia e Pescia.

Registrato, montato e mixato da Glauco Salvo

Masterizzato da Giuseppe Ielasi

_____

Glauco Salvo è un musicista e artista del suono attivo nella scena indipendente e sperimentale italiana. La sua ricerca è incentrata sull’esplorazione di nuovi percorsi tra folk, rock e musica sperimentale attraverso l’utilizzo di strumenti a corda e dispositivi di registrazione e riproduzione del suono. Lavora sulle possibilità di alterazione percettiva e di contaminazione di registrazioni ambientali da parte di suoni artificiali, agenti esterni che trasformano le registrazioni in luoghi leggermente irreali, cambiandone equilibrio, colore e tono.

Suona da solo, nella band alternative-folk Comaneci, in duo con Giovanni Lami e cura musiche e sound design per spettacoli di danza. Ha collaborato con artisti come Marco Parente, Enrico Malatesta, Alessandro Bosetti, Annamaria Ajmone, Cristina Kristal Rizzo. 

Dal 2016 è parte – insieme a Enrico Malatesta e Giovanni Lami – di MU, associazione e collettivo artistico con cui promuove concerti, attività didattiche e di divulgazione riguardanti musiche non convenzionali e suono come fenomeno socio-culturale. 

Dal 2020 raccoglie i suoi lavori di field recording e musica elettronica su Field Studies, collana indipendente di uscite in formato digitale e su cassetta. 

Tracklist:

1. Glauco Salvo - Field Studies Vol. 6
2. Sounds from the swamp – Padule di Fucecchio

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Hideki Umezawa - Movement in Lithosphere, 2023

The work is mainly composed of field recordings made at ice lakes in Japan, such as caldera lakes and lakes where radioactive materials have settled due to nuclear accidents. By conducting research in such locations, I am attempting to explore the relationships between energy, nature, and society.

Tracklist:

1. Hideki Umezawa - Movement in Lithosphere, 2023

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The Resounding Flâneuses

The Resounding Flâneuse e The Resounding Flâneuse, Ηχώ - Ανάμνηση sono due partiture verbali che ho scritto nel 2018 e nel 2022. Entrambe contengono le tracce delle mie esperienze passate nello spazio pubblico e un invito a scrivere insieme possibili futuri. Considerando la pianificazione urbana e l'organizzazione sociale dello spazio e del tempo come sistemi che co-producono le relazioni egemoniche, comprese quelle patriarcali, The Resounding Flâneuses considerano le esperienze (uditive) nella città da una prospettiva di genere, a partire da un corpo sessualizzato. Le partiture giocano sulle categorie di visibilità e invisibilità, silenzio e risonanza, per invitarci ad ascoltare le nostre pratiche spaziali e la nostra relazione con l'alterità urbana, ma anche a investire e reclamare lo spazio pubblico attraverso la vibrazione dei nostri corpi, la nostra presenza, i nostri passi, la nostra voce, le nostre parole, le nostre urla. Le partiture propongono di disimparare alcuni dei comportamenti considerati come appropriati, sicuri o attesi quando camminiamo per mettere in discussione l’asimmetria delle relazioni di potere fra corpi nella sfera pubblica, per interrompere l'assegnazione di certi corpi a certi spazi e per immaginare insieme pratiche di ascolto, solidarietà, riappropriazione o interruzione che potrebbero alimentare altre configurazioni e pratiche.

The Resounding Flâneuses sono basate sulla mia personale esperienza incarnata, ma anche su blog e forum utilizzati da donne e generi minorizzati per discutere della loro sicurezza nello spazio pubblico e delle loro tattiche per proteggersi o impoterarsi (molte delle quali sono legate all'ascolto). Mi sono anche ispirata a diversi progetti e scritti di artiste, attiviste e pesatrici femministe, talvolta evocando direttamente le loro voci. Tra queste: Blank Noise, Lauren Elkin, katrinem, Leslie Kern, Audre Lorde, adrienne maree brown, Pauline Oliveros, Deborah L. Parsons, Anna Raimondo, Adrienne Rich, Avital Ronell, Anureet Watta, Hildegard Westerkamp e Monique Wittig.

Quando Gaia Ginevra e Vittoria mi hanno invitato a proporre un contenuto per Walk so Silently That the Bottom of Your Feet Become Ears – il loro progetto e una score di Pauline Oliveros che riprendo nella mia – ho subito proposto di provare a incontrarci e fare qualcosa assieme. I mesi sono passati ma alla fine, a giugno scorso, siamo riuscite a passare un pomeriggio assieme a Fabrica, a Treviso, dove Carlos Casas mi aveva invitato per una conferenza e un workshop con le e gli artist_ in residenza. Mi hanno proposto di registrare la mia voce e i miei passi e questo montaggio è (forse solo il primo) risultato del nostro incontro.

Elena Biserna è storica dell'arte e curatrice indipendente di base a Marsiglia. Scrive, insegna, facilita workshop o progetti collettivi, cura eventi e a volte performa. Attualente lavora come direttrice artistica dell’associazione Lab GAMERZ. La sua ricerca si concentra sull’interdisciplinarietà in arte, sull’ascolto, sulle pratiche artistiche contestuali e “situate” nelle loro relazioni con le dinamiche urbane, i processi socioculturali, la sfera pubblica e politica.
I suoi testi sono apparsi in diverse riviste e pubblicazioni (Les Presses du Réel, Mimesis, Le Mot et le Reste, Errant Bodies, Amsterdam University Press, Cambridge Scholar, Castelvecchi, Bloomsbury, Routledge, ecc.). Recentemente ha curato due libri: Walking from Scores (Dijon: Les Presses du réel, 2022) e Going Out. Walking, Listening, Soundmaking (Bruxelles: umland, 2022). Co-cura la rubrica femminista wi watt'heure della rivista Revue & Corrigée con Carole Rieussec.
Come curatrice o autrice, ha collaborato con diverse organizzazioni e/o presentato progetti in contesti diversi fra cui: ar/ge kunst (Bolzano); B’sarya for Arts (Alessandria); Errant Sound (Berlino); LUFF (Losanna), Onassis Foundation (Atene), Sonic Protest (Parigi), Festival Plataforma (Santiago de Compostela); CIVA, Q-O2 e Oscillation festival (Bruxelles); City of Women, TO)pot festival e Cona (Lubiana); Manifesta 13, Unité d’Habitation Le Corbusier e La Friche la Belle de Mai (Marsiglia); 3bisF-centre d’arts contemporains, Locus Sonus e Fondation Vasarely (Aix-en-Provence); soundpocket (Hong Kong); Standards (Milano); NUB (Pistoia); Sant'Andrea degli Amplificatori, Xing e Radio Città Fujiko (Bologna); Saout Radio; p-node.
mori no oto o kiku

Tracklist:

1. Elena Biserna - The Resounding Flâneuses

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Miki Yui - Ströemen (Strom 1, Strom 5)
Recorded and Mixed by Miki Yui at MY Studio, 2023.
Mastering by Paraschall, Detlef Funder.
Label: Line sound art editions

A Cycle, Hearing - Music-making
We are hearing, continuously.
Our acoustic environment gives us a map of where we are and of which kind our environment is. Environment is an important factor, which forms us. We receive the vibration and it manipulates our thoughts and behavior. If we listen carefully, we can widen our awareness towards the environment.
Music is a form of thoughts, which, again, reshapes the environment directly.
Miki Yui (2002/2017/2023)

bio:

Born 1971 in Tokyo.
Artist / composer from Tokyo, based in Duesseldorf, Germany.
With her background in fine art, Miki Yui explores the grey zones of our perception and imagination, in the fields of music, drawing, installation and performance. Her works are shown in Europe and in Asia.
Since 1999 she is known for her unique minimalistic and organic approach. From a delicate tiny hiss to a distant hum, electronic sounds and field recordings are woven into music with a narrative tension, that are subtle references to existents.

http://www.mikiyui.com


Credit of the drawing: Miki Yui "Kumade de Kusa wo Kaku" November 2003

Tracklist:

1. Strom1
2. Strom 5

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‚RADURA‘ is a site-specific project, imagined for the Klingenberg power station and the community that inhabits the Gaswerksiedlung in Berlin. RADURA comes to life in the residual space lingering between a power plant, a train maintenance plant, and the ancient GDR Broadcasting building complex. As research in progress, RADURA involves decolonizing and anti-capitalist practices that are designed for bodies to relate to the landscape they cross. The track is the result of a participative performance, where sound materials in the clearing, collide with the concrete interventions of the participants.

Sound editing by Nocturnal Phase
Co-produced by Q-02 (Bruxelles) and Manifactures des Tabac (Marseille)
With the support of Rooms of Kairos (Berlin)

Tracklist:

1. Vittoria Assembri e Gaia Ginevra Giorgi - RADURA

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Questo contributo vuole essere un autoritratto della condivisione di prospettive tra la sound artist Diana Lola Posani e la scenografa urbana Clara Maseda Juan. In un momento quotidiano le due voci dialogano su cosa possa significare sentirsi a casa.

BIO



Diana Lola Posani, sound artist, performer e curatrice, è facilitatrice di Deep Listening certificata
dalla Deep Listening Foundation. Si esibisce internazionalmente, scrive sulla rivista A Row of
Trees, della Sonic Art Research Unit (SARU) - Oxford Brookes University, e ha debuttato nel 2022
su Fango Radio col podcast Kaikokaipuu. Attualmente è interessata a lavorare sullo spazio
comune tra suono e immaginario poetico, attraverso opere interdisciplinari e poesie sonore.
Il suo lavoro è stato presentato a MACRO museo di arte contemporanea, Errant Sound, Tsonami Sound Art Festival, NEXTONES festival, e alla mostra MEZZ’ARIA attualmente in esposizione a Palazzo Fabroni a Pistoia, curata da NUB project space.
 A Marzo è stata pubblicata la sua traduzione del libro “Deep Listening - La pratica sonora di una
compositrice” di Pauline Oliveros, finora inedito in Italia, per la casa editrice Timeo.

Tracklist:

1. Diana Lola Posani - contorni e confini

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In Lettere ad un giovane poeta Rainer Maria Rilke, un breviario non tanto d’arte quanto di vita, dialoga con il suo mittente, l’amico Franz Xaver Kappus consigliandolo e rassicurandolo riguardo agli aspetti più profondi della vita, ma soprattutto riguardo al tema dell’indipendenza artistica e della solitudine, sull’importanza di affrontare compiti difficili, guardarsi intorno e amare il mondo che ci circonda.
Così io mi dichiaro a te e mi confido, giovane amico senza volto.
Ti parlo della mia solitudine da quello che per me è il terreno del reale, dove scorrono verità, malattia, nascita e dove il corpo soffre, dove si trasforma ed infine muore trovando pace.
L’Ospedale è un luogo di densità vitale dove il tempo ha una forma compatta e si può disegnare da quanto pesa.
E’ qui che io mi inebrio e corteggio il presente.
Le lettere dalla sala d’attesa sono la mia gentile dedica d’amore a te, che non hai né corpo né nome, e alla vita, perché è qui ti trovo ed è qui che mi ricordo di lei che siete entrambe pungenti come chiodi e caldi come la cera.
Come l’attesa.
In questo corridoio tra sedie , sussurri e pause, io vivo.

Il field recordings si divide in due parti e riporta il racconto dell'ingresso nell'Ospedale Medizinische Klinik mit Schwerpunkt Hämatologie, Onkologie und Tumorimmunologie di Berlino ( la prima ) fino all'arrivo nella sala d'attesa (la seconda) in cui rimango.

Paola Lesina is a multimedia artist crossing sensitive layers from visual to sound.
She creates intimates visual, performative, spaces and sonic collage for emotions to move, merge and ride.
Hot Conversation, her debut album, was released in 2020 by Falt records, is an erotic / esoteric conversation with the surrounding nature permeated by a surrealist imprint.
Her second album "Candor & Guts " is now released on British label Infanttree , an Intimate and disturbing enveloping scenario of voice and electronics.
Constantly focused on movement research and deep Listening she is founder of MOSSA, a review of appointments related to dance and exploration practices.
Her works & performances were shown at Lavanderie a Vapore, Kaos Festival, Betahaus, Vorspiel, Nu festival, Italian New Wave among others.
Currently teaching at University of Design & Applied Art.

Tracklist:

1. Paola Lesina - Lettere dalla sala d'attesa

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Sound performance
2 JULY 2022, 5.30 PM
WASSERTURM
Meeting point: Badweg 10, CH-8001 Zurich

curated by Zaira Oram

Like an architectural flute hiding in the urban fabric of the city, the ancient water tower will once again come alive with the performance Calma Apparente by artist and composer Magda Drozd. For the second event of OTO SOUND MUSEUM at the Wasserturm in Zurich, on 2 July at 5.30 pm the sound stream will pass through the silent body of the tower to open from the inside out.

The sound performance Calma Apparente is a sonic investigation into the possible futures of the water tower and its surroundings. Including its present and past, the artist Magda Drozd seeks connections between speculative resonances, history and recent activities within the tower. Through this sonic incursion into the urban space, the tower becomes a symbol of possible transformations and of the multiple natures that places can embody. Through the experimental performance that Drozd realizes with the violin and the synthesizer, nourished by the collaboration between the artist and some members of Kanupolo Zürich – who train inside the tower on a daily basis –, the building becomes a living musical instrument that lights up in the city and returns new stories. Here, where everything is apparently calm, something has been, something else happens and more will come. As Magda Drozd herself states: “The title Calma Apparente refers to the exact moment before the storm. A state where you can perceive the potential of something coming but everything around you is still calm. I am interested in the suspended time of a momentum, where we perceive the omen of a drastic change, the still hidden and invisible while contemplating in front of an old building or while having a walk along the water.
While examining and including sounds that are part of the tower right now, a new landscape opens in front of us – telling a story of strength and fragility at the same time. Something will happen.”

https://oto.museum/index.php?page=sound_turm

Magda Drozd (b. 1987, Poland) lives and works between Zurich and Torino. She works as an artist, musician, composer and dramaturg. Her artistic practice explores acoustic ecologies and a non-rational perception of the world through sound. Songs for Plants, her debut album, was released in 2019 by Präsens Editionen and has reached a broad international audience of experimental music experts and fans. On her second album called 18 Floors which she published in 2021, Drozd focused on the building she called home for several years. Within Switzerland her installations and performances were shown at Shedhalle Zürich, Helmhaus, Lokal 14, Fabriktheater Rote Fabrik, sic! Raum für Kunst, Haus Konstruktiv, Südpol and Nationalpark Zernez among others. Internationally she presented her work in art spaces in Detroit, Tokyo, Berlin, Paris, Trivero, and Trento. Since 2021 Drozd collaborates as a composer with Torino-based artist Laura Pugno for her video works and installations. Magda Drozd has earned her BA in Dramaturgy and MA in Fine Arts at Zurich University of the Arts where she has been a research fellow from 2019 till 2021 and was teaching sound and listening as a form of knowledge creation.

Tracklist:

1. Magda Drozd - calma apparente

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Prati-Ca

Attraverso una profonda esplorazione dei Prati di Caprara (Bologna) compiuta da bendate, abbiamo collettivamente immaginato uno schema, un moto di visioni interconnesse, un compendio sonoro di esperienze e osservazioni: ci canta di una foresta urbana circondata da strati che fermentando la spingono verso un germogliare alterato.

Questa zona liminale e mutagena è stata abitata da artist* che, durante il festival ‘SSST….’ organizzato da EXIT, hanno proposto esperienze in workshop e restituzioni al pubblico.

Ottobre 2022, Prati di Caprara, Bologna

registrazioni e composizioni elettroniche a cura di Beatrice Miniaci, Francesca Viani, Marco-Augusto Basso
beatbox: Vittorio Zeppillo (Hardchitepture)

bio

Marco-Augusto Basso (1995) è artista e ricercatore. Diplomato in scultura, studia Teatro e Arti Performative all’università IUAV di Venezia. È stato coinvolto nella VII edizione del festival 'Resistere e Creare' del Teatro della Tosse di Genova, in cui ha concluso il ciclo di performance ‘Moyocoyatzin’ ispirate alla corrente letteraria del post-esotismo. Ha di recente lavorato, con il progetto ‘Janua’, ad una mostra al Palazzo Ducale di Genova. I suoi lavori sono stati coinvolti a NEST (l’Aia), Pinksummer Contemporary Art e Artissima.

Tracklist:

1. Marco-Augusto Basso - Prati-Ca

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Realizzato all’ex Scalo ferroviario di Porta Romana, a Milano

Questo lavoro è un'esplorazione a rovescio delle radici antropologiche dell’abitare il vuoto dello spazio pubblico, attraverso la permeabilità dei corpi e l’intenzione sinestetica delle utopie.

per esploratori nudi

Tracklist:

1. Vittoria Assembri ed Ernesto Bellicini - appel à s’infecter dans un herbier sonore du vide urbain

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A Corte (Ex Villaggio Eni)

FONOGRAFIA - FOTOGRAFIA

L’intervento umano che modifica la natura e la occupa integrandosi nello spazio attraverso l’architettura, la natura che rimodella gli spazi (re)insediandosi fra le strutture sotto forma di pulsante organismo vivente, di ecosistema, di bosco. Una riflessione sull’esperienza dello spazio e del suono e di come il suono naturale di un luogo possa interagire in particolare con lo spazio architettonico che lo ha occupato. Una investigazione visiva, fotografica e aurale sul mutamento

paesaggistico montano contemporaneo, su quello che poteva essere, doveva essere, ma non è stato.

I sogni di un imprenditore visionario e le visioni di architetti geniali. Enrico Mattei e la primissima idea di welfare sociale pensata e realizzata nell’Italia del dopoguerra. La volontà di fornire una casa ai dipendenti Eni con la costruzione di villaggi abitativi innovativi e moderni presso le sedi produttive aziendali. Nacquero così, a cavallo fra gli anni 50 e 60, Metanopoli, un centro urbano alle porte di Milano che ospiterà la sede direzionale Eni, abitazioni ma anche servizi per i dipendenti come Parchi e modernissime attrezzature sportive, e i Villaggi ANIC di Ravenna, Gela e Pisticci. La casa, l’abitazione come necessità primaria dell’individuo ma al tempo spesso elemento di “fidelizzazione” del dipendete. E in questa ottica nasce il più avvincente ed innovativo dei progetti di Mattei, Il villaggio vacanze montane di Corte di Cadore. Seppur incompleto e non terminato (la morte improvvisa e secondo alcuni misteriosa, interruppe di fatto tutti i progetti iniziati) resta uno dei migliori esempi italiani di architettura e urbanistica integrata nel territorio. La realizzazione fu affidata all’architetto Edoardo Gellner (che si avvalse anche della collaborazione di Carlo Scarpa) che

realizzò l’opera insediandola sulle allora brulle, spoglie e sassose pendici del Monte Antelao. L’idea che tutti i dipendenti potessero godere di qualche settimana di vacanza all’anno da vivere, da ABITARE, in un luogo appositamente pensato con quello scopo, con quella finalità sociale ed etica, portarono alla realizzazione del VILLAGGIO. Le Innovative e moderne case (le VILLE), la COLONIA (luogo simbolo dell’architettura di Gellner ed estesa per circa 30.000 mq), del CAMPEGGIO a tende fisse in legno ma anche di molti altri edifici e servizi e non ultima la CHIESA “Nostra Signora del Cadore”, gioiello architettonico firmata da Gellner e Scarpa, sono i segni tangibili e concreti di questa visione. Un sogno interrottosi e rimasto incompiuto con la morte di Mattei ma rivelatosi un fulgido esempio di dialogo fra natura ed architettura, con la seconda ad esaltare la prima. Col passare del tempo e a causa di incuria e abbandoni, la natura, il bosco torna a sovrastare inglobando, letteralmente divorando le strutture architettoniche.

Questa selezione di estratti è parte di un molto più ampio lavoro di ricerca e documentazione fotografica e sonora effettuata attorno alle architetture del ex Villaggio Montano Eni di Corte di Cadore (BL) condotta negli ultimi 15 anni.

Tracklist:

1. Adriano Zanni Enrico Coniglio - A Corte (Ex Villaggio Eni)
2. 01 La Colonia, in esplorazione
3. 02 Neve sciolta, un aereo sulla Val Boite
4. 03 Fra le Ville, grandine, prati bagnati
5. 04 A Corte
6. 05 Al Campeggio, spiove
7. 06 Nostra Signora del Cadore

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Europe sounds. Sept-Nov, '22
+Scania truck reversing out of town square layered deep resonant drone, like music, Kristiansand
+Nescafe in hotel room bubbly mid pitch rising
+Bathroom door in teateret squeaky staccato texture, Kristiansand
+saxophone noise show of shower handle in Brunswick hotel, Glasgow
+Gentle squeal of gate at Hanley court, London
+man in front of me on train Cologne to Berlin, snapping a piece of the window blind gently creating an elastic band resonance snap sound, blended really well with the Jenny Hval album I was simultaneously listening to
+Cheery Berlin tram-stop jingle
+footsteps on cobbled stairs in graffiti alley way, near Intendente, Lisbon
+internal music on train to Paris
+Sirens across Europe, bouncing, encircling, spinning off buildings around the city (all the EU sirens sound the same)
+2x Cherry pickers in the Tate turbine hall installing Cecilia Vicuña, glissandi drones as they move. Striking, shifting resonant harmonies
+squeaky swing - metal harmonics in a park on Garibaldi Palestrina, Milan
+listening to Kendrick - the Heart Part 5 at take-off, voice awash with loud engine sound
+trolley in Bratislava old town bumping on rails and echoing off buildings - deep club bass tones
+man rubbing a twig against the granite footpath at the Slavin memorial, Bratislava
+voices of Italian tourists bouncing off Soviet memorial staircase, Bratislava
+someone sneezing in a quiet section of a violin and double bass improv set in Stockholm
+rhythm of water dripping off boat into Stockholm harbour
+squeaky mooring of boat and ramp, Stockholm harbour
+rain falling on Filmhuset, Stockholm

Bio:
Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions. Alex has presented her art and music in Australia, Asia, Europe, and North America including BBC Radio; Ausland, Berlin; Café Oto, London; EMS, Stockholm; Punkt Festival, Kristiansand; Standards Studio, Milan; AB Salon, Brussels; Radiophrenia, Glasgow; Museo Reina Sofia, Madrid; Sound Forms Festival, Hong Kong; MONO, Brisbane; The Substation, Melbourne; Soft Centre, and Liveworks Festival, with Liquid Architecture, Sydney. She has released her music with labels Room40, Longform Editions, More Mars (w. MP Hopkins) and Canti Magnetici, and has a recent release with Mappa. (She holds the belief that electricity might actually be magic)
linktr.ee/alexandraspence

Tracklist:

1. Alexandra Spence - Europe sounds. Sept-Nov, '22

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Alessandro Bosetti

Plane/Talea #35

2018 - 2022

Plane Talea è un archivio di voci anonime che il compositore Alessandro Bosetti raccoglie da alcuni anni.

L’archivio conserva decine di migliaia di files audio, brevi emissioni vocali — utterances — tutte o quasi tutte appena più brevi di una parola dotata di senso, conservate in cartelle che ne specificano le caratteristiche ma omettono qualsiasi dettaglio biografico sulla persona che originariamente le ha prodotte.

Nel tempo che segue le registrazioni, il ricordo dell’incontro coi donatori e le donatrici di voce svanisce lentamente mentre il compositore incontra e impara a conoscere delle vere e proprie creature vocali, dotate di personalità propria ed in grado di condurre un’esistenza autonoma.

Ogni volta in cui Alessandro Bosetti performa l’archivio, si ritrova a percorrerlo in sensi e direzioni nuove, ricomponendo e ricambiando i frammenti vocali senza però mai alterarne la natura sonora. Nessun effetto quale pitch shifting, time stretching, delay, o frammentazione viene applicato alle voci registrate mentre l’unica strategia compositiva utilizzata nelle performances è quella di organizzare delle rapide ricombinazioni.

Una certa ispirazione è stata l’Ars Combinatoria di Raimondo Lullo, le cui divine ruote concentriche garantivano di poter esprimere tutte le combinazioni presenti nell’universo, tanto quanto la sua Macchina per Pensare disegnata da lui nella Ars Magna del XIII secolo.

I files non vengono inoltre mai tagliati “nella carne della voce” ogni uttenrance comincia e finisce per suo conto — e per quanto minuscoli siano i dettagli di tali inizi e di tali fini essi vengono sempre preferiti a dei fade in o fade out. Come un treno che si mette in movimento oppure frena producendo una caratteristica sequenza di eventi sonori, anche ciascuna delle emissioni vocali di Plane/Talea produce la sua personalissima sequenza di micro eventi sonori che ne caratterizzano l’apparire e lo scomparire.

Ogni performance di Plane/Talea è una passeggiata attraverso un paesaggio vocale, una communita di esseri sonori o se si vuole un coro immaginario e impossibile e pertanto estremamente reale. Tutti i suoni presenti in questo paesaggio sono esclivamente suoni vocali, non trattati elettronicamente ma unicamente ricombinati.

Il desiderio composition e l’immaginazione musicale di Alessandro Bosetti si specchiano e si confrontano con una materia fatta di oggetti trovati e vivi, ancora carichi dell’energia e dell’emozione di un incontro di cui si sono perse le tracce.

Alessandro Bosetti.

Compositore e artista sonoro con un particolare interesse per la musicalità del linguaggio e per la voce intesa come oggetto autonomo oltre che per il rapporto tra suono e memoria. Costruisce dispositivi sorprendenti, spesso legati al medium radiofonico e conduce una riflessione instancabile di rimessa in discussione di categorie estetiche e posture dell'ascolto. I suoi lavori recenti comprendono l’archivio di voci Plane Talea ( in corso ) , le performances radiofoniche Je ne suis pas là pour parler (2019) et Consensus Partium (2020), il ciclo di composizioni Pièces à pédales (2021) e le pièces di teatro musicale Journal de Bord e Portraits des Voix ( 2018 e 2021). La musica di Alessandro Bosetti è accolta nei programmi di numerosi festival tra cui il Festival d'Automne di Parigi, il Festival Eclat di Stoccarda, il festival Présences Electroniques del GRM di Parigi, il festival Liquid Architecture di Melbourne, il San Francisco Electronic Music Festival e il festival Musica di Strasburgo. La sua musica è l’oggetto di numerose pubblicazioni discografiche su etichette come Errant Bodies Press, Holidays Records, Rossbin, Sedimental, Unsounds e Monotype, che nel 2016 gli ha dedicato un box set retrospettivo (4 CD). Il suo libro Thèses/Voix - una raccolta di testi tra teoria, poesia e partitura - è stato pubblicato nel 2021 da Les presses du réel. Alessandro Bosetti vive e lavora a Marsiglia.
L’archivio di voci ne raccoglie oggi all’incirca settanta e continua ad espandersi.

Le diverse performance e attivazioni dell’archivio si susseguono dal 2016, questa, presentata per la prima volta su Fango Radio è la numero 35.

Alessandro Bosetti : melgun.net

Photo : Plane/Talea al festival Danae 2022, Milano, Teatro Out Off. Ph. Michela di Savino.

Tracklist:

1. Alessandro Bosetti - Plane/Talea #35

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Muta Imago
Sonora Desert Radio Edit

Una versione radiofonica di Sonora Desert realizzata in esclusiva per Fango.

Voci: Riccardo Fazi, Claudia Sorace
Drammaturgia sonora: Riccardo Fazi
Musiche originali: Alvin Curran

Sonora Desert è un formato originale a cavallo tra installazione, concerto e performance.

Sonora Desert è ispirato ad un viaggio compiuto nel Deserto di Sonora, uno dei più vasti deserti americani, situato tra l'Arizona e il Messico. A partire dal diario del viaggio attraverso questo luogo mitico, Sonora Desert fa incontrare l'indagine sulla natura del tempo che la compagnia sta portando avanti in questi anni con le ricerche compiute in America negli anni '60 sul rapporto tra vibrazioni e stati di coscienza.

Sonora Desert è un luogo vissuto tra sonno e veglia, che invita lo spettatore a sperimentare una dimensione liminale del sé dove poter incontrare la propria memoria inconscia e archetipica.

Biografia
Muta Imago è una compagnia teatrale nata a Roma nel 2006. È guidata da Claudia Sorace, regista, e Riccardo Fazi, dramaturg e sound artist, ed è composta da tutte le persone che sono state, sono e saranno coinvolte nella realizzazione dei lavori. La continua ricerca di forme e storie che mettano in relazione la sfera dell’immaginazione con quella della realtà presente, umana, politica e sociale, porta la compagnia a investigare diverse forme di arti dal vivo: il teatro, il teatro musicale, la performance, la radio, con l'obiettivo di indagare nella maniera migliore il rapporto tra l'essere umano, il suo tempo e il suo sentire.
Gli spettacoli di Muta Imago sono da anni ospitati e co-prodotti dai più importanti festival nazionali e internazionali. Tra le ultime produzioni: Ashes (2022), Sonora Desert (2021), Sparizioni (2020), Combattimento (2018). Alla produzione degli spettacoli, Muta Imago affianca un’intensa attività didattica, di formazione e di ricerca. Nel 2021 la compagnia ha vinto il Premio Speciale Ubu e il Premio Rete Critica per il progetto Radio India – Oceano Indiano. Nel triennio 2020-2022 Muta Imago è stata compagnia residente di Oceano Indiano, un progetto di Teatro di Roma - Teatro Nazionale. Nel 2022/23 sarà al lavoro sulla nuova produzione Tre Sorelle.


www.mutaimago.com
www.facebook.com/mutaimago
www.instagram.com/mutaimago

Tracklist:

1. Muta Imago - Sonora Desert Radio Version

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Napoli, sud Italia
13.09.2022 h 10:00 / 14:30 c.ca
13.150 passi

Renato Grieco e Vera Borghini

non c'è altro da dire.

Tracklist:

1. Renato Grieco e Vera Borghini - chi chiagne fott a chi rire

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Singing Stones è un workshop di creazione vocale che ha come punto di partenza il libro Pietre che cantano dell’etnomusicologo Marius Schneider.
Studiando i tre chiostri romanici di San Cugat, Gerona e Ripoll, in Catalonia, Schneider scoprì la segreta relazione tra gli animali fantastici raffigurati sui capitelli e la disposizione dei pilastri.
Ogni elemento architettonico corrispondeva a un parametro musicale, gli animali erano associati a note e nella disposizione dei capitelli si giocavano contemporaneamente tre principi ordinativi: l’altezza del suono, il ritmo e la lunghezza complessiva del canto.
Le pietre cantavano, a saperle leggere, melodie precise e l’architettura stessa custodiva, dentro la sua forma, la partitura di un inno.
Quella sviluppata da Giulia Deval è un’azione vocale guidata che, a partire dalle ricerche di Schnerider, porta un gruppo di partecipanti a trasformarsi in un’architettura sonora attraverso l’esplorazione della propria voce in relazione all’idea di animalità e alla creazione di una composizione vocale collettiva ed estemporanea, in perenne movimento.
La traccia proposta è l’azione vocale attivata dai partecipanti di HALF A HOUSE, un format creato dagli artisti Sonia Gómez (ES), Leonardo Delogu (IT), Brogan Davison (UK), Gosie Vervloessem (BE) e Pétur Ármannsson (IS) come parte del progetto N.O.W. New Open Working process for the performing arts all’interno del Festival Fabbrica Europa (Palazzina Ex Fabbri, Parco delle Cascine, Firenze, 2016).
La traccia registrata è diventata successivamente la parte audio dell’installazione collettiva The Cardboard Community, realizzata durante la residenza.
Voci di Fabio Ciararvella, Claudio Beorchia, Margherita Isola, Greta Francolini, Anna Marocco, Justin Randolph Thompson, Laura Perrone, Giulla Deval, Elisa Decet, Chiara Orefice, Sonia Gómez, Leonardo Delogu, Brogan Davison, Gosie Vervloessem, Pétur Ármannsson.

BIO
Giulia Deval (06/01/1993) è una cantante e sound artist italiana. Il suo lavoro si articola in formati diversi come live set, creazione di abiti sonori, concerti di personaggi immaginari e azioni partecipative per voci e nastri magnetici.
Il suo progetto Prima della Catastrofe. Percorsi Etnografici 3302 ha superato le preselezioni del Premio Pierre Schaeffer indetto da INA GRM, GMVL, Phonurgia Nova ed Euphonia risultando tra i migliori 11 progetti del 2019 e ha vinto il MOVIN'UP / SPETTACOLO PERFORMING ARTS del MIBACT nel 2020.
Dal 2018 fa parte di Rica Rickson, una rete femminista internazionale creata nell'ambito di ITERATIONS, un progetto europeo realizzato tra Hangar.org (Barcellona), esc medien kunst labor (Graz), Dyne.org (Giampilieri / Amsterdam) e Constant (Bruxelles).
Ha pubblicato Terrapolis (2020), un album per voce e nastro ispirato al bestiario di Donna Haraway per l’etichetta Ambient Noise Session, e Nepantleras (2022) come parte del duo XIPE, uscito per zOaR Records (NY) con il master di Elliott Sharp.

Giulia Deval (06/01/1993) is an italian singer and sound artist. Her work moves between different formats such as live sets, creation of sound dresses, concerts of imaginary characters and participatory actions for voices and magnetic tapes.
Her project Antes de la Catàstrofe. Rutas Etnográficas 3302, a participatory action for voices and magnetic tapes, passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020.
Since 2018 she is part of Rica Rickson, an international feminist network created in the frame of ITERATIONS, a European project held between Hangar.org (Barcelona), esc medien kunst labor (Graz), Dyne.org (Giampilieri / Amsterdam) and Constant (Brussels).
She released Terrapolis (2020), an album for voice and tape inspired by Donna Haraway's bestiary for Ambient Noise Session label, and Nepantleras (2022) as part of the duo XIPE, released on zOaR Records (NY) with Elliott Sharp's master.

Tracklist:

1. Giulia Deval - Singing stones

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comunque ovunque

E' molto bello in primavera.
Senza alcun volere.
Una somma di visioni.

Passaggio asciutto,
delicatezze e quel senso passato
scomposto, probabilmente scorretto.

Una memoria friabile.
Maggiore, assemblaggio di spezie.
In mancanza passiva.
Vociare, affettuoso e trascritto.

Tu pensi sia un focolare,
noci e nocciole sul collo
in fila,
temporanea per carità,
temporanea città.

Poi,
in ordine sparso,
bello e casuale.

La ragione è un timore colato.
Dimentica quel piatto fumante.
Il timer fissato alle 3.

>>>>>

Principalmente registrato passeggiando in Torino - Autunno 2021. Poi un po' di piano a casa.
TVB a Gher&Valentini, che non fa freddo. Editato a Milano - Primavera 2022.

Canedicoda è vario&vago.
Grazie a WSSTTBOYFBE :)

Tracklist:

1. Canedicoda - comunque ovunque

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The "derive" is a psycho-geographical technique with exploratory, politic and artistic purposes that consists in a break from the classical way of crossing a territory, and that prefers a casual way of walking and moving, letting oneself go to new stimuli and unexpected events and adopting new points of view.
It consists in taking escape routes from hegemonic notions of order, rationality and structure, encouraging the emergence of an open, borderless, unpredictable territory: the linearity of time is suspended, deceived by the transitions and hidden forces of the city; there is emotional disorientation. In this way it is possible to capture non-dimensional information that expands the vision of the territory: aspects and nuances from real life, information and sensations that help us to understand, deterritorialize and riterritorialize space. The urban context thus loses its organization, is reset and reconstructed through the emergence of new situations and new models.
In terms of sound, this becomes an act of decomposition, disintegration and subversion of the structured and organized urban soundscape, for the benefit of an emergence and reorganization of the individual elements that compose it: each sound-object-event takes on meaning as such, and not only as part of a structure, linked in an ecosystem, revealing in turn new meanings and languages.
All material was recorded, collected and processed in September 2021 in the city of Milan (Italy) for the performance by MMT Creative Lab “Parade Electronique 2021: Paesaggi Sonori” at Teatro Arsenale in Milan.

Bio:
Sound artist and independent researcher in Sonic Arts and Media Cultures; Scientific Board Member of USMARADIO: Interdepartmental Research Centre for Radiophonic Studies, UNIRSM; Curator of Expanded Radio Research Unit: an independent radio art platform for innovative works at the intersection of music, spoken word, performance and sound to challenge the limits of broadcasting; resident artist on EOS Radio.
Mariachiara, aka Katatonic Silentio, has been exploring the fields of experimental and electronic music with a unique approach to sound design, releasing music and performing in many national and international festivals, theaters and venues across Europe.
In addition to pursuing a career in music, Mariachiara is also active as an independent researcher: her practice converges halfway between sound and performance arts. Her keen curiosity for cultural studies, combined with a strong passion for music, led her to approach the world of sounds with a sociological and anthropological eye, viewing it as a critical device and indicator of society and its changes.

Tracklist:

1. Katatonic Silentio - Urban Sonic Derive - A Sonic Deterritorialization Of The City

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LICANTROPIA VOLUME 2 
un programma modulare analogico per animali della notte di RADIO INDIA a cura di  DOM-
e con la partecipazione speciale di Leo Anibaldi

. Giochiamo a fuochi scoperti, incontrando dj pionieristici, nomadi techno, rave intempestivi e imperituri. Per chi vuole dormire ma deve danzare. Per chi anche di notte è pronto a partire, a sfidare l'altrove, a non sapere.

Versi: 
Acquainted with the Night, scritta e letta da Robert Frost; Hyazinthen di Theodor Storm (estratto); 
L'esausto di Gilles Deleuze (estratto); 
Sonno (1953,1966) di Amelia Roselli (estratto); 
Strangers in the night, di B. Kaempfert, C. Singelton, E. Snyder (estratto)

https://www.casadom.org

Tracklist:

1. DOM- LICANTROPIA VOLUME 2

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Un anno fa il collettivo DOM-, nella sua articolazione composta da Leonardo Delogu, Arianna Lodeserto e Valerio Sirnå, assemblava materiali sonori notturni dedicati alle strade deserte.
Licantropia, trasmissione radiofonica andata in onda dentro il palinsesto di Radio India (progetto vincitore del Premio Speciale Ubu 2020-2021) viene qui riproposta per la prima volta nel suo formato originale in due volumi.

LICANTROPIA VOLUME 1 
un programma senza sonno di RADIO INDIA a cura di DOM-
con la partecipazione speciale di Antonio Moresco

Un viaggio per riabitare la notte e abbracciare l'insonnia, tra città labirintiche, fughe accelerate, storie di una notte e rientri solitari, con emersioni cinematografiche e stralci noir.
La nostalgia del buio si esprime in confidenze e divieti, per ascoltare ancora tutto quello che ci tiene svegli.

Il testo di Antonio Moresco è tratto da un racconto inedito, dal titolo Camminare da solo, di notte, è narrato dalla voce dell’autore stesso, ed è accompagnato dal musicista e producer Fabio Zuffanti, in un'opera sonora pubblicata per AMS Record.
 https://www.btf.it/antonio-moresco-fabio-zuffanti-camminare-da-solo-di-notte-cd.html

https://www.casadom.org

Tracklist:

1. DOM- LICANTROPIA VOLUME 1

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Frammento indeciso del giardino planetario, il Terzo paesaggio è uno spazio che non esprime potere, né sottomissione al potere. In questo, emerge una corrispondenza con la poesia.

La poesia, come il Terzo paesaggio, è un luogo dell’improduttività, una pratica non capitalizzabile. Si occupa del residuale, dell’interstiziale, dell’indeciso, del privo di funzione. Le istituzioni se ne disinteressano e, in questo senso, si può esprimere come uno “spazio comune del futuro”.

Tracklist:

1. Vittoria Assembri e Gaia Ginevra Giorgi - Femminile plurale: poesie per piante infestanti, rane e bandite

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BARK
Extract of multi-microphone recording
Performance on bike, 01-07-21
with: Alessandro Puglisi, Maria Mallol Moya, Michela Depretis, Miriana Reale Calabrese, MINQ.

Script produced in a series of workshops between 2020 and 2021.
Thanks to:
Almanac Projects, Alba, Alessandro, Alyssa, Alfy, Andrea, Aniello, Beatrice, Carlo, Cleo, Cosimo, Dalia, Ella, Emiliana, Erin, Eva, Giacinta, Giuliana, Gaia, Guido, Heriel, Imbarchino, Iside, Jess, Jessica, Johannes, Kemoy, Laura, Lodo, Louis, Luca, Maria, Marco, Matteo, Michela, Miriana, MINQ, Max, Nadia, Neele, Nico, Nomi, Senya, Susanna, Tana, Valentina, Valentina, Vittoria, Zeyn.


BIO
Derek MF Di Fabio has recently shown at Almanac Projects in Turin, and at “Rosa in Mano”, a show curated by Eva Fabbris at Fondazione Pomodoro in Milano.
Their last work can be heard at https://soundcloud.com/cuscino_audioguida

Tracklist:

1. Derek MF Di Fabio - BARK

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Underland
Rural areas are not silent neither quiet, yet they entail a sense of absence from the ordinary, their tonalities affecting the body through an order – a discourse, a complexity – that exceeds cities’ rationality and control over humans. In “Underland” I mix fragments of two sound works dedicated to Southern Italy’s rural areas, and more precisely to Basilicata, where the suspended atmosphere of abandoned towns combines with distant echoes coming from rural production, animals, ancient rituals, imaginary and real voices.

The first work is “Il mondo di sotto”, (min 0 to 3:20, and 14:55 to 20:20) released in 2017 by Galaverna. The piece was first conceived as an audiovisual essay realized with filmmaker Chiara Caterina as result of a deep exploration of Basilicata: from the high mountains of Pollino to the underground world of mines in the Val d’Agri area, 100 m below the surface of the earth.
Through the words of the curator Leandro Pisano: “Caterina and Di Croce’s audiovisual essay is a sort of a rite of initiation to the residuality and the liminality of a Southern Italian rural region in 2017, following the echoes of suggestions evoked by literary works as Christ Stopped at Eboli and Magic: A Theory From The South. But at the same time, it draws on critical issues as offshore oil drilling, exploitation and colonial processes. In the deepness and delicate narration of both visual and sonic levels, we can find the traces of a sharp and poetic inquiry that takes the audience to a mesmeric and arcane world crossed by voices and bodies from the past and the present. Il mondo di sotto reveals itself as a powerful and touching immersion in a resonant and reverberating environment facing us to a fascinating and problematic condition of such a rich and conflicting land.”

The second work is “Hearing voices” released by Vertical Music in 2021 (min 3:20 to 14:55 - track III, and 20:20 to 30:00, track I). The album is based on field recordings taken in the abandoned town of Craco and on the voice of the poet Domenico Brancale.
From the liner notes of the album, curated by Ludwig Berger: “The subject of abandonment is central here, as it recalls the massive depopulation trend faced by the inner side of southern Italy, and challenges the ways people perceive critical regional transformations. Here, listening practice becomes the tool elected to explore abandonment: a device that enable to move from sonic poetics to territorial politics, from the aesthetic of the audible to the painful call of the survivors. What’s left at the margins of the unheard? Hearing voices is the desperate cry addressing the void, negotiating new alliances with non-humans, taking care of the human’s debris.”

Short bio
Nicola Di Croce is an architect, musician, sound artist, and scholar. He completed his PhD in Regional planning and public policies at Università Iuav di Venezia, Italy, and is currently Marie Sklodowska-Curie Fellow at Iuav and McGill University’s School of Information Studies, Montreal.
His research deals with the relationship between Urban Studies and Sound Studies. In particular, he is interested in collaborative and participatory approach to urban policy analysis and design through Sound Planning methodologies and Sound Art practice. Sound is central to his artistic and academic activities; he considers critical listening a key tool for the investigation of urban and cultural transformations, affecting in particular vulnerable areas. Through articles, lectures, soundwalks, compositions, performances, and installations he aims to foster sonic awareness and to empower institutions and local communities.

Tracklist:

1. Nicola Di Croce - Il mondo di sotto
2. Hearing voices

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AMBITUS

In resonance with her sonic installation work at architectural and urban scales, Nadine Schütz is developing a site-specific approach to composition that might be called the work of an environmental interpreter.
This approach's artistic bet consists of producing all the sound material used for a composition from the specific site itself: ambient sound recordings, sound effects from found objects, resonances collected from architectural structures and landscaped materials, and, importantly, impulse responses. Space and place are thus deciphered as we decipher a score.

The present track combines two sound works that Nadine Schütz has created in different urban contexts, which have in common that they are considered rather hostile environments.

AMBITUS is a recent sound piece that Nadine Schütz has created within the Infinite Loop project, curated by the magazine Flaneur. This work was presented for the first time at the Station Gare des Mines in Paris, Porte d'Aubervilliers, during the Nuit Blanche 2021:
«With AMBITUS, I wished to carve out the extremities that meet again, between sonic mass and sound particle, between speed and stop, between distance and difference, between landscape and body.
This is the first result of my searching for a transversal reading of a linear structure, the Paris ring highway called périphérique, which I initiated during the first workshop of the Infinite Loop project at La Station Gare des Mines. This reading causes a change in the listening scale, which incorporates and makes audible the intrinsic resistance of the périphérique that I felt in this regard. In music, Ambitus designates the sonic range defined by the lowest note and the highest note of a piece of music or an instrument. In the specific urban context of the périphérique, this notion also involves a negotiation between exterior and interior, noise and silence.»

Plage de la Défense #2, created with the support of the Ircam Acoustic and Cognitive Spaces team in 2019, is part of an evolving series of compositions, reflecting on the human conditions of the ample and very mineral open space of Europes biggest business district La Défense. Several room impulse measurements at different positions mapping the pedestrian square of La Défense define the primary sonic material for this work. By extracting the spatio-temporal and spectral characteristics of these acoustic imprints, "Plage de la Défense #2" let them structure a spatial and tonal orchestration, abstract yet always imbued with the acoustic spirit of the place.

Short Bio
Nadine Schütz introduces herself as a sound architect or environmental interpreter. Drawing on theoretical, poetic and technical research, she explores the auditory environment through compositions, performances, installations and atmospheres that relate space and listening, landscape and music, urban and the human.

Her work has been presented in Zurich, Paris, Venice, Naples, New York, Moscow, Tokyo and Kyoto. Among her current projects, a sound installation for the forecourt of Renzo Piano's courthouse in Paris, a series of environmental instruments for Marc Mimram's 330m bridge crossing the train tracks in Pleyel Saint-Denis, and the amplified gardens for a part of the future Olympic Village for the Paris 2024 games.

Nadine Schütz holds a Master in Architecture and Urban Design and a PhD in Landscape Acoustics entitled «Cultivating Sound: The Acoustic Dimension of Landscape Architecture», both from ETH Zurich. She has taught at various architecture and art schools in Switzerland, France, Great Britain, Austria and Japan. Currently, she is a guest composer at IRCAM at Centre Pompidou Paris.

Tracklist:

1. Nadine Schütz - AMBITUS

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“Sounds drifting or hiding in the area in which I live. A vacant lot, a port at midnight,
broken furniture, childhood toys, voices of machines. Overlooked, abandoned and
malfunctioning sounds. Sometimes I record them, sometimes I miss them. 2014-2018,
Nagasaki, Japan.”
Shuta Hiraki, a Japanese electronic musician who was born in 1990 and lives in
Nagasaki, Japan, has publicized his own works under the pseudonym obalto since
2014. Influenced by drone-based ambient music in the latter half of the 2000s, he
started to create ambient/drone music himself centering on various field recordings and
processed sounds.

Tracklist:

1. Shuta Hiraki - Cirrus