Invitation au 19 est un podcast produit par *Duuu Radio en partenariat avec le 19 Crac, Centre régional d’art contemporain de Montbéliard.

En 1921, l’entreprise Peugeot fait l’acquisition d’une parcelle au 19 avenue des alliés à Montbéliard. Le bâtiment industriel à la charpente métallique emblématique connaîtra plusieurs vies. Mais c’est à partir des années 80 que le désir d’art contemporain s’affirme et devient un axe important de la politique locale, et par extension, de la reconversion du bâtiment.

En 1995, le 19 Centre régional d’art contemporain s’installe dans cet ancien atelier de réparation Peugeot et Philippe Cyroulnik en prend la direction. L’édifice est cédé à la ville de Montbéliard en 2009, il s’inscrit alors dans le patrimoine industriel de la commune et vit une rénovation conséquente, notamment de sa façade. En 2016, Anne Giffon-Selle devient la nouvelle directrice du centre d’art et Adeline Lépine lui succède en 2022.

Labellisé centre d’art intérêt national par le Ministère de la Culture, le 19, Crac œuvre depuis 30 ans à la diffusion et à la production d’œuvres contemporaines. Au cœur de toutes ses actions, la médiation occupe une place de choix, ainsi que les projets de résidences. Tout comme la programmation artistique, ils contribuent au dialogue permanent entre le lieu et son territoire d’implantation.

En 2025, pour fêter cette décennie supplémentaire, l’équipe du 19 lance une collecte de souvenirs et invite chacun et chacune à partager une anecdote ou un événement marquant lié au lieu. Les témoignages collectés tissent ainsi la mémoire collective du 19 à travers le temps et mettent en lumière l’empreinte artistique du centre d’art au sein du paysage culturel et social.

Le 19 remercie France Acquart, Stéphanie Bunod, Arnaud Clety, Sylvie Daval, Tarsila Delaborde, Fatou Diongue, Anne Giffon-Selle, Hana Jamaï, Brandon Koziol, Fanny Maugey, Sandra et tous les anonymes pour leurs témoignages. Les extraits sonores ont été enregistrés lors du concert Glitch d’Emilie Škrijelj le 21 juin 2025 à l’occasion de la C’PARTY, la fête d’anniversaire du 19, Crac.

Montage et mixage : Aurore Portales

A sound geography of the Calanques National Park, mixing sensitive knowledge, empirical and scientific.

Sound creation resulting from a workshop of listening and recording underwater sounds co-created with people concerned by psychiatry.

With the participants of Radiolà:
Fanny Ausseil, Yves Seksek, Anita Lindskog, Sylvain Vicarini, Yacine Djemli
Aurélie Darbouret, anthropologist researcher
Underwater recordings: Julie Rousse, sound artist
Recordings & Production: Jean-Baptiste Imbert

A creation with the phonograph artist Julie Rousse, anthropologist researcher Aurélie Darbouret and sound director Jean-Baptiste Imbert.

Floating listening, a project proposed by Radio Grenouille – Euphonia and supported by the Calanques National Park as part of its call for ‘Culture’ projects for the Autumn of the Calanques 2025 and labeled La Mer en Commun.

This radiophonic piece is improvised from live broadcast, dubbed and mixed across four channels in real time, with effects layered in the moment. It explores the fleeting quality of sound — how something can be summoned into being just by pressing Play. It’s about listening as a kind of magic, where the act of playback becomes the act of creation, unfolding outward like a ripple
from the centre. A quiet celebration of the ephemeral, the accidental, and the everyday wonder of tuning in.

Andrew Backhouse is one of the founders of Harrogate Community Radio and an artist in his own right. Born in East Anglia and somewhat superstitious, Andrew has lived across the UK but now happily calls Harrogate home.

Certain Secret Methods Two is a new 27 minute composition created specifically for radia. It uses tape loops, harmonium, singing bowls, sequential circuits pro one and field recordings to create a space for you to visit whenever you like. I am intrigued by the concept of dead drops, codes and ciphers and Steganography. In this recording is embedded, messages, codes and location details. Perhaps you will listen closely and figure out what it is all about?

Mykel Boyd (°1970, Kankakee,IL) makes sound recordings, conceptual artworks, photos, installations and films. By experimenting with aleatoric processes, Boyd creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found.

This sound creation piece captures the essence of autumn in the Aragonese region of Sobrarbe. Through field recordings collected in forests, rivers, and mountain villages, it reveals the textures of a landscape in transition - the rustle of dry leaves, distant cowbells, the whisper of the wind through beech and pine trees, and the echo of footsteps on ancient stone paths. The composition invites the listener to experience the emotional and acoustic depth of the season, blending natural ambiences with subtle sound design to evoke the quiet beauty and melancholy of autumn in the Pyrenees.

Soundscapes recorded at Bielsa, Pineta and Chisagüés 23-25 october 2025.

What became of the Library of Alexandria? It seems to have fallen victim to the flames. Just like our beautiful jingle. Only remnants of it remain, because we allowed ourselves to play with fire in this programme. We were amazed at how many levels there are links between the element of fire and radio! It starts with the German word “Funkfeuer” (radio beacon) and ends with Telefunken and lightning. We enjoy the convivial warmth of the campfire and marvel at electromagnetic inventiveness.

A programme featuring sonic illusions and surprising parallel universes.

Production and recordings by Barbara Huber, Barbara Kaiser, Fabi Lux, Stefan Nussbaumer & Karl Schönswetter. Contains industrial recordings by kwandalist.

Arrangement & mixing by Karl Schönswetter.

From our Elements series. Previously released: Earth, Water and Metal.

Invitation au 19 est un podcast produit par *Duuu Radio en partenariat avec le 19 Crac, Centre régional d’art contemporain de Montbéliard.

Cet épisode a été réalisé à l’occasion d’une rencontre entre l’artiste Laura Molton et les commanditaires d’Audincourt, en vue d’une étude pour une œuvre de commande en lien avec l’action Nouveaux Commanditaires pour laquelle le 19 Crac est actuellement médiateur-relais sur l’aire urbaine Belfort-Montbéliard sous le tutorat d’A Demeure.

L’action Nouveaux commanditaires permet à des citoyennes et des citoyens confrontés à des enjeux de société ou de développement d’un territoire, d’associer des artistes contemporains à leurs préoccupations par le biais d’une commande.

Des habitant·es d’Audincourt, regroupé·es au sein de l’association Engrenages artistiques, initient une commande d’œuvre autour du patrimoine du quartier des Autos, en particulier l’église du Sacré-Cœur et les maisons Castors. Situé dans un territoire ouvrier façonné par l’industrie Peugeot, le quartier des Autos porte l’histoire d’un siècle de mutations sociales, urbaines et culturelles. C’est un lieu d’accueil, de construction collective et d’initiatives citoyennes, marqué par l’auto-construction, la mixité sociale et les expérimentations culturelles. L’église du Sacré-Cœur, érigée par les habitant·es avec la complicité d’architectes et artistes majeurs, ainsi que les Maisons Castors, lieux de vie auto-construits par leurs habitant·es en sont des symboles.

La commande vise à raviver cet héritage en lien avec les valeurs de solidarité, de transmission et de bien commun. Elle entend « faire mémoire », donner à voir un patrimoine peu visible et ouvrir un nouveau récit collectif. Les commanditaires imaginent une œuvre immatérielle, ancrée dans l’histoire du quartier, mais ouverte à d’autres formes et lectures, en lien avec les habitant·es, les écoles et les nouvelles générations.

Avec les commanditaires Edwige et François Dumel, François Nageleisen, Geneviève Pastre et Brigitte Rimbert avec l’association Engrenages artistiques, Patrimoine et Transmission. Et le soutien des habitant·es et acteur·ices d’Audincourt pour un développement et une valorisation du patrimoine industriel, ouvrier et artistique du quartier des Autos.

En partenariat avec la Société des Nouveaux Commanditaires et Pays Montbéliard Agglomération.

Enregistrement : Morgane Charles
Post-Production : Aurore Portales

Sur les ondes hantées du B.O.O., les fantômes prennent la parole.
Un paysage sonore où résonnent monstres, maisons hantées et autres présences invisibles.
Une proposition de Reem Saleh et Louise Siffert pour *Duuu.

On the haunted radio waves of B.O.O., ghosts speak out.
A soundscape filled with monsters, haunted houses, and other invisible presences.
A proposition by Reem Saleh and Louise Siffert for *Duuu.

Cette playlist a été diffusée à l’occasion de l’événement A Ghost Radio Camp, une soirée horrifique organisée en juillet 2025 à Duuu Radio / Folie N4, Parc de la Villette (Paris).
This playlist was broadcast during the A Ghost Radio Camp event, a horrific evening organized in July 2025 at Duuu Radio / Folie N4, Parc de la Villette (Paris).

Radia Mixage : Sampson Staples

Passagen – Passages, 2025
Trois pièces sonores radiophoniques interprétées par Junior Borgella, Anna-Lisa Dieter, Benoît Gaillard, Eve Larue, Inge Linder-Gaillard, Ruth May, Raluca Pora, Gregoire Rousseau, Nora Sternfeld, Ivor Stodolsky, Victor Strazzeri, Felix Utting

Passagen – Passages est un projet de Michaela Melián et Won Jin Choi, qui tisse des récits autour des migrations, de l’exil et du paysage urbain de Marseille. S’appuyant sur leurs liens personnels et professionnels avec la ville, elles imaginent des interventions dans l’espace public - installations sonores, images, projections, séminaires et moments d’échange.

Passagen – Passages explore la manière dont la ville et ses lieux contiennent les stigmates du temps, comment la mémoire habite les rues et comment l’une et l’autre se reconstruisent sans cesse. Sous ou sur le bitume, l’Histoire se foule chaque jour.
…
Le projet est né de traces. Il y a des lettres, des gestes, des itinéraires, des noms glissant hors de l’Histoire. Des traces laissées par des vies comme celles d’Helen Hessel, d’Albert O. Hirschman ou Jesús Argemi Melián. Les recherches de Michaela Melián questionnent comment ces histoires se transmettent, refusant de figer le sens, laissant la logique fugitive de la ville guider le processus.
…
Ce que l’archive ne peut contenir, la ville le porte encore. Un banc public. Un visage anonyme. Une marche sans destination. Nous tournons autour de ce qui ne peut être nommé. Dans ce mouvement circulaire, les choses finissent par subsister.

• Extrait du texte de Won Jin Choi

Le projet, co-produit par Belsunce Projects (Marseille) et HyCP (Hambourg), fait partie du Fonds PERSPEKTIVE pour l’art et l’architecture contemporains, une initiative du Bureau des arts visuels de l’Institut français d’Allemagne.

Le projet est soutenu par le Ministère de la Culture, l’Institut français de Paris, le Goethe-Institut de Marseille, le Ministère de la Culture et des Médias de Hambourg, ainsi que le Bureau du district de Hamburg-Mitte. Michaela Melián a mené ses recherches pour le projet Passagen – Passages en tant que boursière de l’ifk durant le semestre d’été 2025.

Passagen – Passages, 2025
Trois pièces sonores radiophoniques interprétées par Junior Borgella, Anna-Lisa Dieter, Benoît Gaillard, Eve Larue, Inge Linder-Gaillard, Ruth May, Raluca Pora, Gregoire Rousseau, Nora Sternfeld, Ivor Stodolsky, Victor Strazzeri, Felix Utting

Passagen – Passages est un projet de Michaela Melián et Won Jin Choi, qui tisse des récits autour des migrations, de l’exil et du paysage urbain de Marseille. S’appuyant sur leurs liens personnels et professionnels avec la ville, elles imaginent des interventions dans l’espace public - installations sonores, images, projections, séminaires et moments d’échange.

Passagen – Passages explore la manière dont la ville et ses lieux contiennent les stigmates du temps, comment la mémoire habite les rues et comment l’une et l’autre se reconstruisent sans cesse. Sous ou sur le bitume, l’Histoire se foule chaque jour.
…
Le projet est né de traces. Il y a des lettres, des gestes, des itinéraires, des noms glissant hors de l’Histoire. Des traces laissées par des vies comme celles d’Helen Hessel, d’Albert O. Hirschman ou Jesús Argemi Melián. Les recherches de Michaela Melián questionnent comment ces histoires se transmettent, refusant de figer le sens, laissant la logique fugitive de la ville guider le processus.
…
Ce que l’archive ne peut contenir, la ville le porte encore. Un banc public. Un visage anonyme. Une marche sans destination. Nous tournons autour de ce qui ne peut être nommé. Dans ce mouvement circulaire, les choses finissent par subsister.

• Extrait du texte de Won Jin Choi

Le projet, co-produit par Belsunce Projects (Marseille) et HyCP (Hambourg), fait partie du Fonds PERSPEKTIVE pour l’art et l’architecture contemporains, une initiative du Bureau des arts visuels de l’Institut français d’Allemagne.

Le projet est soutenu par le Ministère de la Culture, l’Institut français de Paris, le Goethe-Institut de Marseille, le Ministère de la Culture et des Médias de Hambourg, ainsi que le Bureau du district de Hamburg-Mitte. Michaela Melián a mené ses recherches pour le projet Passagen – Passages en tant que boursière de l’ifk durant le semestre d’été 2025.

Passagen – Passages, 2025
Trois pièces sonores radiophoniques interprétées par Junior Borgella, Anna-Lisa Dieter, Benoît Gaillard, Eve Larue, Inge Linder-Gaillard, Ruth May, Raluca Pora, Gregoire Rousseau, Nora Sternfeld, Ivor Stodolsky, Victor Strazzeri, Felix Utting

Passagen – Passages est un projet de Michaela Melián et Won Jin Choi, qui tisse des récits autour des migrations, de l’exil et du paysage urbain de Marseille. S’appuyant sur leurs liens personnels et professionnels avec la ville, elles imaginent des interventions dans l’espace public - installations sonores, images, projections, séminaires et moments d’échange.

Passagen – Passages explore la manière dont la ville et ses lieux contiennent les stigmates du temps, comment la mémoire habite les rues et comment l’une et l’autre se reconstruisent sans cesse. Sous ou sur le bitume, l’Histoire se foule chaque jour.
…
Le projet est né de traces. Il y a des lettres, des gestes, des itinéraires, des noms glissant hors de l’Histoire. Des traces laissées par des vies comme celles d’Helen Hessel, d’Albert O. Hirschman ou Jesús Argemi Melián. Les recherches de Michaela Melián questionnent comment ces histoires se transmettent, refusant de figer le sens, laissant la logique fugitive de la ville guider le processus.
…
Ce que l’archive ne peut contenir, la ville le porte encore. Un banc public. Un visage anonyme. Une marche sans destination. Nous tournons autour de ce qui ne peut être nommé. Dans ce mouvement circulaire, les choses finissent par subsister.

• Extrait du texte de Won Jin Choi

Le projet, co-produit par Belsunce Projects (Marseille) et HyCP (Hambourg), fait partie du Fonds PERSPEKTIVE pour l’art et l’architecture contemporains, une initiative du Bureau des arts visuels de l’Institut français d’Allemagne.

Le projet est soutenu par le Ministère de la Culture, l’Institut français de Paris, le Goethe-Institut de Marseille, le Ministère de la Culture et des Médias de Hambourg, ainsi que le Bureau du district de Hamburg-Mitte. Michaela Melián a mené ses recherches pour le projet Passagen – Passages en tant que boursière de l’ifk durant le semestre d’été 2025.

Radio version of the audiovisual performance

Don Giovanni is one of the archetypes of our culture, one of its founding myths. And myth is not an inert fable but an active, creative force, it nourishes, in a surprisingly circular way, the very culture that gave it life.
Over the course of four centuries, Don Giovanni has taken on - or disguised himself in - countless and extraordinarily varied forms.

With this audiovisual project, we seek to explore the recurring and often mutable archetype concealed beneath Mozart’s masterpiece, creating a performance that draws on a contemporary aesthetic and language. Mozart’s music itself undergoes metamorphosis, electronic, sampled and manipulated, from old vinyl records to acoustic renditions, serving as the foundation for literary “evocations” of Don Giovanni, from Tirso de Molina to José Saramago, from Molière to Baudelaire, Hoffmann, Kierkegaard, Byron, and many others. And, of course, the operatic libretto by Lorenzo Da Ponte.

The project includes readings, sung passages, and historical recordings of actors’ performances, a sound carousel that conjures the situations, characters, texts, and voices that have given life to the Don Giovanni myth across different historical periods, authors, and its continual metamorphoses. Whether invoking the unrepentant libertine or the punished sinner, the paradise of the senses, the complexity of human relationships, or the hell of damnation.

Paolo F. Bragaglia is an electronic composer born in an entirely analog world, who has stubbornly journeyed into our digital age. Ever fascinated by the metamorphosis of sound across genres, over the years he has expanded his interests toward the intersections between music and moving images, dance, architectural spaces, visual arts, spoken word, and theatre.

This has led to an intense career as a composer of film scores, soundtracks, and multimedia performances, alongside record production, sound art, and sound installations. He is the creator and artistic director of the electroacoustic music festival “Acusmatiq”, held for twenty years in Ancona at the Mole Vanvitelliana, and the founder and president of the Museo del Synth Marchigiano (Museum of the Marchigian Synth)

By Paolo F. Bragaglia
Damian Dombrowski, Chiara Pietroni: narrators
Ludovica Gasparri: soprano
A production of Mozartfest Würzburg
World premiere: June 21, 2019

An excerpt from a live performance at TMAG (the Tasmanian Museum and Art Gallery) for the Dark MOFO 2023 festival, by the nipaluna Hobart based Radio Art duo Sisters Akousmatica (Julia Drouhin and Phillipa Stafford).

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

Sisters Akousmatica

Score for an independent bell

And so everyday life begins. A subtlety made up of sounds that we recognise but so often ignore. It’s just background noise. Today, there are no witches — there is guilt. The voice as a mirror of discomfort, of coughing, of screaming. And the bells, always there. In the distance, persistent, like an entity dictating the pace of our steps. At a time when “freedom” has become a fragile word, we whisper, we murmur, we chant — and we become the crowd that, for a moment, makes itself heard above the bells.

It was from this attentive — and restless — listening that, in March 2025, a group of curious sound enthusiasts gathered in Braga for a radio art workshop, promoted by Braga Media Arts, as part of Braga 25 — Portuguese Capital of Culture. Under the guidance of Sarah Washington and Knut Aufermann (Mobile Radio), a broadcast was created from this soundscape.

When thinking about the sound identity of Braga — marked by a notable religious presence, which earned it the epithet ‘Portuguese Rome’ — one always comes back to bells. They inhabit the towers of the city’s countless churches, mark time, sing sacred melodies, call people to prayer. And sometimes they seem to scrutinise souls in search of sins. Because they exist — and because they make themselves heard — bells inevitably shape our daily lives.

The bells and chordophones heard in this piece were recorded during rehearsals and performances of the artistic project ‘Novos Ecos de Uma Paisagem Sonora’ (New Echoes of a Soundscape), by the Percussion Group of the University of Minho, directed by João Dias, accompanied on the Braguesa guitar and cavaquinho by Luís Capela.

Concept and recordings: Bernardo Pinheiro, Brendan Hemsworth, Cátia Faísco, José Costa, Líria Varne, Luís Pinto, Mi, Pedro Rui, Rui Tavares, Sara Pereira, Steffi Koch, Virgínia Valente, Marta Durão.

Editing and production: Brendan Hemsworth

Acknowledgements: João Dias, Luís Capela, Fábio Saraiva, Filipe Abreu, Pedro Arrieche, Simão Veiga, Carlos Jerónimo, Francisco Novais and Sara Borges; Circuito Braga Media Arts / Braga 25; Rádio Universitária do Minho; Fundição de Sinos de Braga.

A composition imagining gestures, an anthropological archive of the body, as sound objects, predominantly through an acousmatic approach to the deconstruction and reconstruction of field/phone recordings, using the CD and CDJ as a tool or instrument for real-time manipulation, re-recording and improvisation, highlighting the musical potential of seemingly trivial real world sounds.

A sound situation extracting and trapping gestures from a socio-cultural landscape into an unpredictable set of sonic objects, continuously re-arranged and re-choreographed in time.

This radio piece is in direct relation to Milic’s expanded cinema performance INSCRIPTION, ENDURING; POTENTIAL which centers on gesture as holder of subtle cultural memory and history (the body as an anthropological and sociological archive) using found footage to practice experimental autoethnography – extracting glimpses of gestural movement from super8 home movies and interconnecting them in multi-projections.

“Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as a moment of art subtracted from the neutrality of aesthetics: it is pure praxis. The gesture is neither use value nor exchange value, neither biographic experience nor impersonal event: it is the other side of the commodity that lets the “crystals of this common social substance” sink into the situation.” (Giorgio Agamben)

Geanina Gypt is a leftfield music project of artist and DJ Maja Milić, fueled by a hardcore use of loops, extensive resampling, deconstruction and creating rhythms by misuse and destruction of samples or trivial sonic elements of reality, as well as the use of DJ equipment as tool for real-time manipulation of prerecorded sound (improvisation of an improvisation), mostly on tapes and CD.

She uses radio as a space for releasing music in long form or testing conceptual ideas, often intermedial (like, broadcast of images or live happenings), through her show Gypt Sessions on Berlin’s artist radio reboot.fm, and sometimes through Intruder Sessions, which is an irregular intrusion of the radio with spontaneous sets or concepts. She started to self-release tapes under Gypt Records.

1. Forgotten Loops’ Sketchbook, 2023-2024 (00:17:06)

Life is a beautiful glitch. A rhythmic essay on our flaws and imperfections. An infinite list of small mistakes and forgetfulness that swirl and thicken in the mind of the poet, a sound artist. Beckettian anti-resolutions that emerge like a litany during a brief meditation on everyday life. The author’s poem, presented by means of a superimposition of vocal lines made up of loops with different psychological framings of the text. Simultaneities. The irregularity of the loops used in the piece, the result of sudden gestures of improvisation on the recorded material, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Cuts and overlaps animate the resulting patterns. The piece is made up of three parts: parts 1 and 3, fast and essentially rhythmic. Part 2, broader, slower and cumulative; semi-discursive, punctuated by hesitations and squeaks. Voice: Anna Carl Lucchese.

2. Children of Science, 2021 (17:07-18:07)

October, 2020. São Paulo. Three friends in a public park, wearing masks. They talk about life from a safe distance. Shy walkers pass. Children appear. They get on the spinning toy. At a safe distance, they articulate the present. Figure and background. Our anguish exposed to the sun. The pile driver lacks empathy. At night, alone, I listen to what they said: imaginary friends, little magic stones, trips to the Moon and Saturn! “The most dangerous thing in the world? Jump out of a Building. Second, catch the Corona virus.” Children of science, they are. Voice: Roberto D’Ugo Junior.

3. Fica Comovido / Be Moved By (final section), 2021-2022 (18:07-27:07)

Mr Laurentino is a street musician who used to play his harmonica on the pavement of Avenida Paulista in the city of São Paulo. One evening in 2018, I conducted a short interview with him. When asked how passers-by reacted to his work, he simply said that everyone is moved when they hear music. I hadn’t seen Mr Laurentino for a long time. In this piece (2021), the phrase ‘Fica comovido’ (be moved by) is subjected to basic electroacoustic processing: slowdown, EQ, granular delay and exhaustive repetition. The irregularity of the loops, the fruit of sudden gestures of improvisation, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Repetitions, cuts and overlaps animate ‘resulting patterns’. At the end, I thank the musician, a little awkwardly, for the conversation before I leave. The 45 minutes are derived from a simple phrase said by Mr Laurentino as if he were apologising for something. This piece is neither a report nor a documentary, but a modest audio testimony and a poetic meditation on the human condition.

Roberto D’Ugo Junior is a brazilian artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism. One of the main features of his work is the ritualistic repetition of speech residues and fragments of field recordings. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was programme and production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at the Faculdade Cásper Líbero.

Radio Študent for Radia Network presents a jumble of sonic images of animals and humans interacting with them collected and mixed by robrrr_. Field recordings, clips from television and appropriations from social media form the basis of an exploration into the way we spend time with animals, play with them, parody them… The sound samples are manipulated, arranged and interwoven with original musical compositions to create a warm and playful ramble around the various ways we represent animals and use images of them to expose things about ourselves and our lifeworlds. In the clips, we sense the love and happiness that emanate from the interactions but, at the same time, the animals’ presence is often reduced, indirectly heard or otherwise cryptic, leading us to the question if the subjectivity of the animals is given the space they really deserve.

Robbie Hopper is a musician, biologist, audio technician and sound artist, working under the name robrrr_. They find making abstract compositions a comforting way of making sense of worldly wonders and horrors, and are currently particularly interested in radio and noise as subversive conduits for rebellion against oppression of various kinds. They invite you to greet your pet on their behalf.
Radia.fm program by Radio Študent, curated by Urška Savič.