Every Summer, close to the full moon, a group of sound artists walk up montain carryng radios. Modulation is a micro radio camp run by artists Emma Loriaut and Julien Clauss for the past 16 years. Participants have to have a battery-operated or acoustic sound set up, a tent, some food and a portable FM radio. Over the 24 hours, participants chose their time slot, focusing on environmental sounds, day light or moon presence, temperature and the mountain itself. In this way the landscape dictates the line up. This concatenation sound piece came out of the 26 radio concerts that took place between 4 - 5 July 2026, at 1700m alttitude in the Devoluy Mountains. Every time you hear a cut, a new musician is playing.

Aether continues a field recording discipline that extends listening beyond the limits of human perception, revealing electromagnetic environments that exist alongside the audible world. Recorded in three remote locations - the Nevada Desert (2016), St Agnes in the Isles of Scilly (2021) and the Pyrenees (2023)—the works were created using a Stephen P. McGreevy VLF receiver. The environments were chosen for their lack of technological interference, where human-made electromagnetic activity recedes and the Earth’s own radio environment emerges.

Stephen Shiell is a London-based sound artist, improviser, composer and field recordist working across experimental music, radiophonic art and site-responsive practice. His recorded works, live performances, sound walks, and workshops explore listening, gathering and performing as social, ecological and political acts, engaging with sound as a means of understanding place and environment. Drawing on field recordings, found and self-built instruments, electromagnetic sound and live electronics, he creates immersive works spanning solo and collaborative performance, radio and participatory projects. He is a certified Deep Listening practitioner and one half of the duo Blanc Sceol. He works collaboratively through Surge Cooperative on listening-based projects along the Channelsea River in East London.

“Hello, this is Anna calling, from Earth. Just a few meters away from the top of Ancient Minoa. Last time I was here I found ‘my’ Tree broken by the wind. I touched it and wished us a ‘New Life’. I must return, I know. You, too. I know. I wish you a Happy New Life. I knitted this sonic shawl for you, to wish me a Happy New (personal) Year, soon! I love you! Your little cat”.

An imaginary letter from a daughter to a mother, consisting of the “Amphilyce”, “Ad Vivam Flammam” & “Hestia Fields” Diptych and “Galanthus” sound works, all produced and compiled by Anna Stereopoulou, featuring (free) Space Sounds compiled through the CARISMA. On the occasion of August Celestial Events and the composer’s birthday.

Anna Stereopoulou specialises in the field of Music Composition for Film & TV, whilst since 2017, she has been introducing a special form of live presentations, described as Cymatic Environment© (SYN and PLANO projects) and inspired by her Art & Science research. She has also composed music for the Theatre, Dance, Installations, Radio, Music Ensembles and Orchestra, and has presented her art in cultural venues and archaeological sites. Since 2006, she has occasionally been presenting her FEELMUSIC seminar series, whilst she has worked as an Advisor/Programmer in Music & Film Festivals (Italy, France) and has developed her work through a wide range of collaborations, through her activity in the field of Culture, Education, Journalism and Tourism, and as a member of female:pressure network.

Anna Stereopoulou | composer-pianist-researcher
A STEREOSCOPIC perspective of Music & Art©

An archive on the regulatory sense offers two shapes to live in : the grid, discrete, indexed, metric, the space of the catalogue and the timestamp, where everything has a slot and a slot has everything, or the flow, smooth, continuous, borderless, the space of the algorithm that sorts by resemblance instead of by rule. The flow looks like an escape from the grid. It works instead as the grid’s next form. Control doesn’t need walls once it can modulate a stream. Smoothness rarely means freedom: it works as surveillance without edges. A technofossil, though, doesn’t live in either shape. It lives in the escape of a different dimension from them, a fugitive geography. Between any two points in an archive there are always more points, mysterious, semiopen parts that are somehow both separable and inseparable from their neighbors, a texture that is neither cleanly cut nor cleanly continuous. This is a mereotopology. A technofossil can then be a fragment that stays a fragment no matter which classification tries to absorb it. It works less like debris than like a lure. A technofossil behaves the way a living fossil like the Arctic lamprey hunts, offering part of itself as bait, a tongue that wiggles like prey, close enough to something known to be pulled in and named, then slipping the catch just as recognition closes over it, a catastrophe of recognition that keeps recurring. Fugitiveness works this way too, staying legible only to itself, moving in ways the archive’s capturing apparatus hasn’t learned to follow yet.

What makes this geography fugitive, rather than simply unmapped, is that the archive’s own attempt at closure produces it, from inside its own edges. Any finite set of rules, any index, any algorithm, any catalogue, throws off a remainder it cannot account for, an incompressible residue generated by the very act of trying to make the archive total. A technofossil behaves the same way a transmission behaves once it has outlived the station that sent it, an archive of doom still propagating after the system that made it has closed the file. It persisted, migrated onto substrates nobody built for it, the way certain organisms take a bomb crater or a subculture takes root in the wreckage of a project that already failed, an ecology of distortion. It can also work as an archive of the hypothetical, a wrong prediction still waiting in the record for a chance to act on the present again.

In an attempt to scavenge a technofossil in this mix, nothing is mourned back into coherence. It stays inhabited in its ruined form, activated at the exact pitch of its distortion, an affection for destruction, that distortion is still carrying a charge.

Here, we are interested in the incomputable residue that any act of transmission, capture, or archiving throws off, and in treating that residue as the actual terrain worth mapping. An archive that fully accounts for everything it holds has stopped being strange to itself. Fossil///Noise is built from the technofossils it can’t hold, the fragments left over once the filing is done.

Samples include :

André Damião – Deumaestrutura (from NARVA2) — 2022
Merzboom – un till ed #002 – The Nightmare Continues — 2024
Yuri Bruscky – Trava-Língua nº 3 — 2023
W. Halliday – Arctic Noise (WCS Canada Ice Sounds) — n.d.
W. Halliday – Fish Grunt Sachs — 2015
W. Halliday – Bearded Seal — 2016
God Pussy – Raízes em Transe (from Diáspora: Expressão Ancestral) — 2023
God Pussy – Contos de Sinhá (from Diáspora: Expressão Ancestral) — 2023
Jesse Paul Miller – Sounds of Secret Records — 1995/1998
Martín Rodríguez – Des Cloches À La Solidarité / Une Grande Onde, Entre Temps Perdus (Transmission Ecologies Ep.14) — 2022
Sbjtvo – Isla decepción (title track) — 2020
Budhaditya Chattopadhyay – Sonic Psychogeographies II — 2025
Ajítẹnà – Chuva (from Habitar as coisas) — 2023
Jordan Belson & Stephen Beck – Cycles — 1974
Len Lye (film) / Andrew Pask (soundtrack) – Tusalava — 2008
Takashi Ito – Thunder — 1982
Amy Ireland – Cultivating Darkness — n.d.
Class Divide (dir. Simon James) – Neolithic Cannibals Soundscape — 2024
Reza Negarestani – On the Practical Necessity of Having Demons (Session 4) — n.d.
Sadie Plant – Where to with Cyberfeminism (CTM 2014) — 2014

An introduction to the concept of the undulatory epidermis.

This is the story of Jaklos, a young man who, following in the footsteps of his uncle Perdida, embarks on a long journey that will take him to the shores of Lake Léman, where he will make his fortune. In this epic tale, Lake Léman exerts a fascination over him that goes far beyond mere aesthetic admiration.
Very quickly, the lake will become an essential element of this tragedy, representing far more than a mere detail of the landscape, as it exerts a profound influence on his psyche. Like an oracle, it will reveal itself to be an evil creature, and Jaklos will not be its only victim.

Epiderme sonore du Léman

Introduction à la notion d’épiderme ondulatoire.
C’est l’histoire de Jaklos, un jeune homme qui, suivant les traces de son Oncle Perdida, entamera un long voyage qui le conduira au bord du lac Léman où il fera fortune. Dans cette épopée, le lac Léman exerce sur lui une forme de fascination qui va beaucoup plus loin que la simple admiration esthétique.
Très vite le lac va devenir un élément essentiel de cette tragédie, et représenter bien plus qu’un simple détail du paysage, agissant sur sa psyché. À la manière d’un oracle, il se révélera être une créature maléfique et Jaklos n’en sera pas la seule victime.

A radia guest slot from L’Institut International de Recherche sur la Radio et la Magie

Produced by the International Institute for Research for Radio and Magic
Produit par l’Institut International de Recherche sur la Radio et la Mag

Three works for radio by composer and sound artist Harvey Young.

First, Schisma Gulf: “In September 2024, I traced ethnographer Maurice Born’s journey to the island of Spinalonga, a former leper colony in the Gulf of Elounda, Crete. Buoyed by foggy iterations of Saint Panteleimon and mid-50s atrium film nights, I set about sonifying his initial investigations, from his arrival in a blow-up dinghy to the final survey of the admission and disinfection buildings.”

Secondly, Isolgoss, a composition for five loudspeakers: “I’d been reading linguist James Burridge’s work on dialectal formation and spread. He applies surface tension dynamics to the interaction between language groupings. I thought it would be tasteful to interpret these mechanics using extended vocal techniques (trills, ululation, phonetically varied vowel shapes) and granular synthesis to capture the kineticism that underpins linguistic evolution. Mixed into spatial audio at Piel View House, Cumbria.”

Thirdly, Lament for the Old Clock which tells the story of an 18th-century agricultural worker plunged into the vicious new frontier of industrial capitalism who must leave his simple agrarian existence behind and submit to the callous and dehumanising demands of the factory floor. The piece documents the change in temporality from the feudal notion of cyclical, reverential time to the concept of future-oriented progress that defined the beginning of the industrial revolution. Through extended vocal techniques, found instruments and granulation, Lament for the Old Clock explores this transient yet profound period of temporal and spiritual upheaval.

Harvey is a composer-in-residence at the Abeceda Institute, Ljubljana (2025), and has presented electroacoustic installations in Europe and North America. His experimental opera and poetry works have been commissioned by Resonance Extra and Whitechapel Gallery, and he writes at presents Pitch-Complex on Radio Worm. He has contributed research to Oscar-nominated producer Jaimie D’Cruz’s Acme Films, and assisted John Akomfrah on the video installation In the Hour of the Dog for the Baltimore Museum of Art.

Freeze, Asian Archive documents the immigrant neighbourhood stretching from West Kruisplein to Mathenesserplein in Rotterdam. Starting from the East Asian shops and restaurants often known as Rotterdam’s Chinatown, this 2.3 km street extends into a mix of Asian and other non-European grocery stores, restaurants, small businesses, and third spaces, representing communities from East, South, Southeast, and West Asia, as well as South America, Africa, and former Dutch colonies. Immigrants often carry with them an image of home from the time they left. As they recreate these spaces abroad, they become time capsules where the past is preserved through visually through the interiors and sonically through the music playing inside. In November 2025, I walked this street and recorded the music playing in different Asian and Non-European grocery stores and restaurants. This soundwalk is a homage to the moments of time that remain frozen through migration and displacement.

Avita Maheen (aka two4.41139) is a Bangladeshi sound, performance, media artist, writer, and curator based in Rotterdam, Netherlands. Her practice is centered on sound, memory and she authored the framework titled the embryonic desire, with autoethnographic research on personal and urban influences of globalization in post-millenium Bangladeshi urban music culture. Maheen is the founder of Kalponik Rekha and Chaya Chobi, platforms for South Asian experimental sound art and ambient cinema, and is a guest Adjunct Faculty at Pathshala South Asian Media Institute.

A patchwork of raw recordings from a funfair - screams and terrifying sounds, robotic voices, anti-capitalist songs and slot machines, carnival barkers, crackling loudspeakers, a parade in the night - all leaving the impression of witnessing a strange ritual.

Although sonically it contains almost opposite sound textures, from fast, loud free improvisations to (very) silent chamber music, it is still based on same compositional/improvisational strategies. The work is centered to main piece, as or another for piano and electronics, but starts with a collage of free improvisations by author. After both is two spectral compositions, based on previous piece: string quartet movement using free improvisation collage as harmonic/rhythmic material, and piece for sine tones based on spectra of as or another. A kind of four movement piece, where the last section contains also music from third part of the piece.

Jukka-Pekka Kervinen is a Finnish composer, musician and visual artist. He is a member of Wandelweiser composer-collective, active musician, and runs a few record labels dedicated to experimental music.

as or another is a composition/collage for radia.fm.
Commissioned by Paulo Raposo/Rádio Zero for radia.fm

Art’s Birthday 26 @ ESC -Medien Kunst Labor, Graz

Art’s Birthday (French: anniversaire de l’art) is the birthday of art, arbitrarily set in 1963 by the French Fluxus artist Robert Filliou (1926–1987) on the day of his own birth, January 17th, and 1,000,000 years before 1963.
Initiated as a tribute to art and intended to celebrate its presence in everyday life, this day of action is now celebrated annually and resonates worldwide. We are celebrating Art’s Birthday with a live broadcast from the esc mkl on Radio Helsinki in Graz 92.6 FM and the EBU Ars Acustica Group.
Initiated as a tribute to art and intended to celebrate its presence in everyday life, this day of action is now celebrated annually and resonates worldwide. We are celebrating the birthday of art with a live broadcast from the esc mkl on Radio Helsinki in Graz 92.6 FM and EBU Ars Acustica Group.

Excerpts from:

Deta: Afterimage
Nayarí Castillo und Hanns Holger Rutz: Invisibilties
Reni Hofmüller: Khipu meets Resonating Sculptures

Kanal 103 celebrated World Radio Day with a live experiment from our small capsule in space, performed by Martin Djorlev, Mae Josifovska and Vasil Jordanov. They are part of a new generation of Macedonian musicians who move beyond genre, toward risk, curiosity and sonic exploration.

SHUM / ШУМ (Macedonian for “noise”) is an open-ended experimental music project initiated by Vasil Jordanov, appearing in different incarnations and collaborations.

This is the second part of the live performance recorded on 13 February 2026.

It is the last radio session produced in the Kanal 103 studio before access to the space was lost again, arriving right on time for our 35th anniversary.

We’ll be back.

Now that we are 20 years as a radio station and 20 years as a radia station, here are eleven shows from the first decade. Rather than selected clips, they are all playing at once, but mixed up-and-down-and-in-and-out through a largely intuitive process.

It’s a chaotic muddle with moments of beauty. Just like running a community radio station.

Not a retrospective, as you can’t see it.

Featuring radia shows 102, 114, 126, 137, 175, 190, 219, 264, 342, 483, 584.
By Chris Booth, Stephen Cornford, GilbertandGrape, Sarah Gray, Lucinda Guy, Shelley Hodgson, Anna Keleher, Lona Kozik, Stormsmith Nomi, Alexander Paterson, David Prior, Claire Long, Andrius Savickus.

The Game takes its name from the attempts made by asylum-seekers to reach the EU via the overland border between Bosnia and Croatia. Located on the so-called Western Balkan migrant route—and only 10 kilometres from the border—Bihać has for the last 15 years been used as a point from which to attempt ‘the game’. Visible from the nearby monument on Garavice Hill is the local cemetery which contains a small, unkempt plot of graves of many who did not succeed—either drowning in the Una river after jumping off the trainline which snakes along beside it, encountering bears or unexploded land mines from the 90’s wars, or as a result of injuries sustained by the brutal push-backs administered by the Croatian border police. The monument, symbolising twelve weeping mothers looking out over their fallen children from the National War of Liberation (WWII), now takes on new meaning.
Additionally, the title references the local football stadium which at the height of the migrant crisis was used as a makeshift refuge for asylum-seekers. In contrast to the rising authoritarianism in Europe at present which manifests as increasingly harsh immigration policies, Bihać was the first region liberated from Nazi-allied forces in WWII. It was here that the founding principles of Yugoslavia, including its anti-colonial engagement with the global south were first fleshed out, guided by the Partisan call-to-arms ‘Smrt fašizmu, sloboda narodu’ (Death to fascism, freedom to the people).
The composition unfolds over nine thematic chapters (five of which feature in this excerpt), each focusing on one part of the constellational matrix of sites related to Garavice. The composition progresses through abandoned spaces used as makeshift asylum-seeker accommodation, game day at the local football stadium, the fields around Garavice, a border crossing, and archives related to the site, concluding at the point at which a group of asylum-seekers prepare to make a covert, nighttime border crossing. Interludes highlight the geological settings of these locations, while at other points field notes appear in the form of voice over, ruminating on the listening process.
The Game was first exhibited as a 60-minute, 22-channel sound installation incorporating geological and found objects activated by exciters and reclaimed speaker components, in Naarm/Melbourne in February 2026.

• D A Calf is a Naarm/Melbourne-based sound and installation artist and researcher, working predominantly with sound, text and photography to explore the remnants and dormant possibilities of failed modernisms. Through field work and archival research his practice contends with archives—impossible, hidden, contested, and otherwise—of place.

Curated by Sally Ann McIntyre for Radio One 91fm, Ōtepoti Dunedin, Aotearoa New Zealand, May 2026.

Dreaming is an essential activity in processing experiences and witnessed events. It helps us construct a sense of identity, reality and can (partly) help to process traumatic experiences.

Since AI is constantly confronted with the most violent content on the internet, the Sonic Research Kitchen thinks it is very important that we learn this new technology how to dream. How else can we expect it to process all the violence it encounters on the internet?

If we don’t act now, we’d better reserve the poor thing a spot on the waiting list for a decent psychotherapist.

This is our humble contribution in trying to learn AI to dream. With many thanks to the contributors who preferred to stay anonymous.

Yours truly,
Sebastian Dingens,
for the Sonic Research Kitchen.

About Sebastian Dingens

Sebastian Dingens plays around, and calls it research. He lets his mind drift and calls it improvisation. He makes drawings and calls them compositions. He turns knobs and calls it synthesis. He fiddles with recorded sounds and calls it radiophonic. But he is very serious about all of these things.

AI says that he works at the intersection of experimental music, listening practices, radio and sonic research.

He is fascinated by processes of geological erosion, processes of forgetting and the emergence of memories of never-lived experiences.

The truth, in the end, is one’s own perception of reality.

—

cardboard cartoon figures of board surfers on waves of distant ice ages publicity for pubic hair and wrinkled bellies
anorexic skeletons disguised as bones of dinosaurs
fascinating drawings of young children,

curiously smiling with white teeth of disillusion

In a state of introvert depression rage I go to war,
I go to fight my own anger
with the violence of my own blood
on the brown battlefield under a dessert of black clouds

I am seeing myself standing there
but I am looking inward with closed eyes
fatigued by useless attempts to stay human in a hopelessly sick world

—

there’s an impenetrable forest,
a forest inside myself
and inside this forest, there’s a clearing. I am standing there,
in the middle of the clearing
of the forest
inside of myself
there’s no animals moving about.. except for insects
small little insects
crawling around
with the speed of light
….
segmented legs
weird flies
…
a thousand faceted eyes
observe me
I feel their gaze piercing
my own
harnass
….

through bark and bush
there’s only a slow peculation of light
a glimmering reflection
of what used to be hope
seeps through the leaveless branches of berches pale bodied
their skinns inscribed with badly healed wounds as if this groove remembers
a wound I have not yet spoken
…

But if we change perspective ….

I am sitting in front of the open window my legs are a curtain
through the open window
I see a field of refined flowers wheeping, still in the wind

there’s a lot of berchtrees.
my skinn is waving
it is a waving curtain
my skinn is a curtain, waving in the wind ….

the waving enlightens in me a burning desire
the waving enlightens in me an inseasable desire …

and through the open window I see
…

cardboard cartoon figures of board surfers on waves of distant ice ages publicity for pubic hair and wrinkled bellies
anorexic skeletons disguised as bones of dinosaurs
fascinating drawings of young children,

curiously smiling with white teeth of disillusion

In a state of introvert depression rage I go to war,
I go to fight my own anger
with the violence of my own blood
on the brown battlefield under a dessert of black clouds

I am seeing myself standing there
but I am looking inward with closed eyes
fatigued by useless attempts to stay human in a hopelessly sick world

Radia show curated by Carine Demange for Radio Campus Bruxelles.

A journey
Questions

What is the difference between a metro and an airplane ?
Between a shopping center and an airport ?
What does the light energy and the roaring sound of these mechanical movements tell us ?

2,364 meters above the ground. Drink a sip of water, 4,901 meters above the ground ;
“Would you like an apple juice, pepsi, coffee ? Milk, sugar ?”
A café at an altitude of 5548 meters.
It happens every day.

There are sparrows in Istanbul airport. On the trees.
On the trees that are in pots, IN the airport terminal.
A bird people in a cage, surrounded by metal birds, which fly high.

Who authorized me to take their place ?
It’s the economic one.
The economic trip.

All spaces and objects hold the memory of what has gone before. Vibrations and atmospheres persist over time and are stored, layered and can be recalled. Observations from the past can be felt upon entering a space or when touching an object. This is a subtle sense that is often lost in our present noisy and distraction filled world. This sound piece is produced from recordings made of ancient habitats and artifacts aimed at revealing embedded memories.

Jimmy Peggie works at the intersection of sound and visual language. His practice is built on introspection, quiet intensity and deep engagement with place and time. It is rooted in observation and the subtle textures, decay and imperfections found in natural and urban environments.

4.48 dB(A)
Buffering Love in a Hopeless Place

A sonic datastructure.
Programmed, synthesized, and processed by Igor Štromajer and his computers

The title – 74.48 dB(A) – represents the measured average sound pressure level in decibel in the central processing hub of a data center, where the A-weighting curve simulates the human ear’s response to the raw acoustic power of the hardware.

The sonic datastructure 74.48 dB(A) is an acoustic dissection of a heretical technological sacredness. At the core of the composition lies the processor noise of a server hall, establishing a decaying, mathematical, techno-sacred experience through a monotonous sequence of hums and mechanical sounds. This non-human sonic landscape deciphers the materiality of the internet, which manifests through constant vibration, heat, and forced mechanical cooling.The server room transforms from technical infrastructure into a consecrated space of mathematics, a hopeless place where the biological body can no longer survive due to noise and sterility. Here, the data stream reaches its harmonic peak within a post-human environment where machines communicate with one another in total autonomy, devoid of any human interaction or intervention.
This sonic architecture offers the illusion of salvation through the non-stop flow of information. Every single fan in this system acts as a prayer wheel, maintaining the stability of a fractured digital self in an infinite loop.The core state of this meditative sonic experience is buffering. In the server environment, love, affect, and identity cease to be fixed points; they become ongoing processes, constantly loading but never fully materializing. Simultaneously, the sonic datastructure deconstructs the myth of the ethereal data-cloud, confronting the audience with the brutal physical force required to sustain modern metaphysics. This non-human mantra, where noise and grief are the only remaining relics, offers failed tactics for transcending political anxiety and establishes meaningless strategies of groundless resistance.

IGOR ŠTROMAJER

Igor Štromajer – also known as intima.org – is a non-amateur level electric non-artist, “le Pavarotti du HTML”. He explores tactical artistic techno-performative research intimate guerrilla, and low-tech communication strategies.
He has shown his work at more than two hundred exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale and in numerous other galleries and museums worldwide) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor).
His projects form part of the permanent collections of the prestigious art institutions, among them Le Centre Georges Pompidou in Paris, the Museo Reina Sofía in Madrid, the Computerfinearts Net and Media Art Collection in New York, and the Maribor Art Gallery in Slovenia.
As a guest artist he lectures at universities and contemporary art institutes. Štromajer lives and works between Frankfurt am Main and Maribor / Ljubljana.

credits:
great many thanks to Igor Štromajer and his computers for 74.48 dB(A) – Buffering Love in a Hopeless Place!

additional info:
includes radia jingles (in/out), station and program info/intro (english)