Struggling to find my way back…but also never quite leaving.
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.
Make the internet a better place.
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 café at an altitude of 5548 meters.
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.
Embedded Memories
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.
Tengo miedo…
La poesía de Federico García Lorca late como un pulso antiguo que atraviesa la tierra y la voz. En sus versos conviven la música del pueblo, el misterio de la noche y una intensidad emocional que transforma las palabras en imágenes vivas. Lorca escribe con sangre, con luna, con silencio; y en esa mezcla surge una expresividad creativa que desborda los límites del lenguaje. Su poesía no solo se lee: se escucha, se respira, se siente como un eco profundo del alma humana. En cada metáfora vibra un paisaje, en cada ritmo una emoción que invita a imaginar, a escuchar lo invisible.
The poetry of Federico García Lorca beats like an ancient pulse moving through the earth and the human voice. In his verses live the music of the people, the mystery of the night, and an emotional intensity that turns words into vivid images. Lorca writes with blood, with moonlight, with silence; and from this fusion emerges a creative expressiveness that overflows the limits of language. His poetry is not only read: it is heard, breathed, and felt like a deep echo of the human soul. In every metaphor a landscape vibrates, and in every rhythm there is an emotion inviting us to imagine and to listen to the invisible.
Radio Tecnicolor
The Vienna-based Radia Collective presents the live session “Radio Tecnicolor” featuring Stefan Nussbaumer and Georg Zichy. You are listening to a recording from 9 April 2026 at Basislager – Stefan Nussbaumer’s studio in 1150 Vienna. The concert was produced specifically for Radia transmission no. 1098.
You will hear an interweaving of sound and image, in which the video data controls the sound. There is a digital and analogue feedback loop, and radio sounds serve as the connecting element. An app programmed by Stefan Nussbaumer converts colour data into OSC signals. In this way, the sound is controlled by 54 pixels and two human beings.
Concept, production & performance: Stefan Nussbaumer & Georg Zichy
Video & audio recording: Lale Rodgarkia-Dara
Mixing: Karl Schönswetter
Photos: Karl Schönswetter, Georg Zichy
The performance can also be viewed in the video on radia.fm.
Attends, je propose qu’on écoute la nature d’abord… un instant.
Depuis 2022, Duuu fait partie du réseau Radia, groupe international de radios libres créé en 2005, dont les membres proposent chaque semaine une émission originale à diffuser sur toutes les ondes radiophoniques. À l’occasion du Radia Show #1097, Duuu Radio présente une compilation de morceaux issus de l’album « mILLième » (2025).
Avec un mILLième, le duo d’artistes Cécile Tonizzo et Nicolas Couturier s’est attaché à explorer, sur 217 mètres – soit un millième de la longueur de la rivière – un fragment de paysage, en mêlant performance, création sonore et graphisme. En juillet 2025, durant cinq jours - soit 217 décaminutes - un collectif éphémère s’est constitué pour explorer les dimensions sonores de l’Ill depuis l’eau de la rivière. Pour l’écouter et se jouer d’elle, le groupe a construit une plateforme flottante, créé des instruments de prise de son, réalisé des captations sonores et imprimé une série de t-shirts à partir d’éléments récoltés dans l’Ill. Tout au long de cette résidence, le centre socio-culturel du Marais a servi de point d’ancrage terrestre à cette expérimentation fluviale permettant les échanges avec des habitant·es, kayakistes et artistes.
Compilation tracklist : Merle Jam - Est-ce que la rivière a changée ? - Milles rivières - Mise à l’eau - Sillure.
Avec Cécile Tonizzo & Nico Couturier, Cyril Magnier, Manuel Zenner, Curtis Coco & Aquila Lescene. Remerciements à Zoé Colombani et Charlotte Raimbault.
Produit par le CEAAC, en collaboration avec le CSC du Marais – Juillet 2025, Schiltigheim. Le projet s’inscrit dans le cadre du projet l’Ill – Une collaboration avec la rivière entre le CRAC Alsace à Altkirch, La Kunsthalle Mulhouse et le CEAAC à Strasbourg, projet collaboratif réalisé grâce au dispositif « Mieux produire, mieux diffuser » mis en place par le ministère de la Culture – Drac Grand Est et soutenu par la Région Grand Est.
Radia edit : Mathias Dupaquier
Very so much I wanna do.
Live avec les étudiant·es de 3e année de l’école Média-Art à Châlon-sur-Saône.
Une émission réalisée dans le cadre d’un workshop radio du 4 au 8 janvier 2026, proposé par Loraine Baud et Simon Nicaise (*Duuu Radio) sur une invitation de Charlie Hamish Jeffery.
Avec Ibourayane Ahmadi, Manelle Cherrih, Amir Genillon, Honorine Gibello, Nima Henryon, Athéna Noël, John Weeber et Manon Joseph.
Ce que je ramasse n’est pas de l’os blanchi, mais des voix polies par les années.
Live avec les étudiant·es de l’ensba Lyon 1/2
une émission réalisée dans le cadre d’un workshop radio avec les étudiant·es de 2ème année en art de l’ENSBA Lyon, le 18 décembre 2025
Un workshop proposé par Loraine Baud et Simon Nicaise (*Duuu Radio), sur une invitation de Camille Richert.
Il y a beaucoup de choses qui se perdent dans la traduction.
Live avec les étudiant·es de l’ensba Lyon 1/2
une émission réalisée dans le cadre d’un workshop radio avec les étudiant·es de 2ème année en art de l’ENSBA Lyon, le 18 décembre 2025
Un workshop proposé par Loraine Baud et Simon Nicaise (*Duuu Radio), sur une invitation de Camille Richert.
To kar zvok dvomu vzame
Radio Študent this time presents a sound collage “To kar zvok dvomu vzame / Sound that doubt takes” by Mrtvo Rođena Živa Lešina. MRŽL is an artistic performance that exists in the in-between spaces of poetry, music, and photography. It explores the fear of death—silenced in modern society—and how, through apathy and nihilism, one arrives at a creative process where anonymity becomes an integral part of identity.
Regarding this piece, they state the following: “Radio collage is a way of processing sound. It emerged out of necessity, due to the inaccessibility of smartphones and the internet. A push-button phone, which picks up radio signals and has the function of recording radio waves, serves as both a means of retrieving audio messages and an archive. The storage space is limited to 25 minutes of audio recordings before they are transferred to a larger archive, allowing the phone’s memory to be cleared for new recordings. The final composition is built from these recordings, using contrasts between them to reveal meanings that were previously hidden within their original contexts. The recordings range from 3 to 60 seconds in length. Each captures the most essential part of a song, an interview, or a news report. Only fragments of songs are recorded—preserving the emotions of the listening moment rather than the song itself. Similarly, in interviews, while a half-hour conversation may convey a great deal of information, it is equally important to capture the dynamics between the speakers. A ten-second clip can reveal moments of conflict and confrontation with another person’s thinking. With news, the understanding works in reverse. Short clips of current political affairs isolate pieces of information that might otherwise be lost in the flood of daily news—seemingly less urgent yet still significant.
By removing these fragments from their original context, archiving them, and reintroducing them in a new framework, the collage plays with the perceived relevance of information. What might seem trivial in one setting can carry weight in another. At the same time, it also exposes the emptiness of certain information—what in one context signifies authority, professionalism, or intelligence may, in another, reveal itself as mere empty rhetoric, a hollow interpretation of new laws and state actions.”
Radia.fm program by Radio Študent, curated by Urška Savič
Meet and greet, plug and play.
Blind date at Kanal 103.
Deep into the pandemic, live music felt impossible. But we have Kanal 103, our little capsule in space. Two musicians, strangers until that moment, were brought together for an impromptu live session. This recording captures that initial spark and the genesis of Todor Karakolev’s Will Discuss, a project carelessly abandoned to the thrill of on-the-spot musical encounters.
Will Discuss for the occasion :
Todor Karakolev – electronics
Kristijan Savikj – guitar
Recorded live at Kanal 103 (15.11.2020) as part of the Music & Friendship series.
Glitch, interval, this way-that way dubiousness, slight delay, sharp intake, split second gap
Light Hesitates is a text-voice piece and a contemplation on hesitation. Hesitancy being present in the body and perhaps a useful tactic to disrupt linear progression and certainty, to notice other ways of seeing. Ideas of partial visibility and translucency (mist, tracing paper, dusk) and of navigation in relation to light (moth, dung beetle, ear) crept into the work from the periphery. The texts stem from a summer artist residency at Hospitalfields Arbroath Scotland in 2023.
As choreographer I was experimenting with writing that emerged from an immediacy of experience and of moving. I am curious how language inhabits and how the body inhabits language, how words resonate from the body and fold back into the body. How certain words organised in score-like structures become dance partners. In writing for radio, as a new way of making a choreographic work, I was working perhaps with how words are held in a voice as an extension of the body, how to bring lightness and spatiality to words spoken aloud and play with what surfaces between writing, reading, speaking, listening.
Written and performed by Katrina Brown
Additional voices Myrte Blanken and Juno Brown
Produced by Lucinda Guy for Soundart Radio
It is also a call to celebrate and defense the many forms of life.
This final sonic and experiential conversation navigates the myriad topics raised over the course of Nomadic Cosmologies and Fugitive Power, weaving climate struggles with environmental justice and transformative futures. This closing is also an opening and an invitation to engage with the socio-ecological dimension of energy and people’s resistance against the epistemic injustice that is present in extractivism, datafication and a narrative that claims it cannot be otherwise. It is also a call to celebrate and defend the many forms of life that need space to flourish on their own terms. To mobilize with the overcrossing rebellious rhythms and the ancestrality of resistance.
With Sezgin Boynik, Alberto Torres, Giovanna Esposito Yussif and Sónia Vaz Borges, Sonic Intervention with DJ Zhao
Red Forest Radiograms – Nomadic Cosmologies and Fugitive Power were convened by Red Forest.
Réveille-toi de ton rêve car tu vis dans l’ignorance.
Une tentative de se raconter, à travers des récits, des souvenirs, des mémoires animales.
Autobiographie au micro, bruitages, performances vocale et expérimentations sonores sont convoquées pour faire émerger l’animal enfermé…
Les personnes détenues qui ont participé à cette création sonore sont stagiaires de la formation audiovisuelle dispensée par Lieux Fictifs et financée par le Conseil régional Sud Provence-Alpes-Côte d’Azur.
An attempt to tell one another through stories, memories, animal memories.
Autobiography on the microphone, sound effects, vocal performances and sound experiments are called to bring out the animal locked in…
The detainees who participated in this sound creation are trainees of the audiovisual training provided by Lieux Fictifs and financed by the South Provence-Alpes-Côte d’Azur regional council.
Arnaud Théval : écriture, dispositif
Jean-Baptiste Imbert : écriture, prise de son, montage & mixage
Projet développé dans le cadre des actions de réinsertion portées en partenariat avec l’administration pénitentiaire.
Arnaud Théval : writing, device
Jean-Baptiste Imbert : writing, sound recording, editing & mixing
Project developed in the framework of reintegration actions carried out in partnership with the prison administration.
Field Transmissions
In 2023, OOO (Out of Office) Radio visited Tuukka Kaila’s studio in Herttoniemi to hook into his set up for receiving live audio streams of terrestrial and cosmic weather events that appear as disturbances in the Earth’s electromagnetic field. The resulting natural radio waves on the VLF band (3—30 kHz) are picked up and broadcast as real-time audio streams over the internet by dedicated radio amateurs.
OOO (Out of Office) Radio is a mobile community radio station for experimental sound and curious ears, founded by James Prevett and Samantha Lippett. Based in Helsinki, it is a set of tools and internet broadcasting equipment that can be borrowed and used to broadcast remotely from any space (including outdoors using battery power).
duration unknown
duration unknown by Mobile Radio (Sarah Washington & Knut Aufermann)
This piece concerns the uncertainties and contradictions of modern-day car use, and unfolds in the mind rather more as an unfinished philosophical journey than a physical one.
It was conceived as an antidote to the celebratory sentiment (although perhaps ironically intended) engendered in listeners by the Kraftwerk song ‘Autobahn’ - in relationship to the building of an out-of-time motorway bridge over the Mosel valley near Ürzig in Germany. The originally planned action was to detonate the record while it played on a portable turntable on the unfinished bridge, which was deemed somewhat tricky to realise.
The work was made for the show Cafe Sonore on the Dutch national radio channel VPRO in 2010, commissioned by Lukas Simonis. During a residency at WORM in Rotterdam to prepare source material, we recorded all the electronics on their wonderful array of analogue synths, which we interconnected with our own home-made instruments. We also set up radio and open-mic feedback processes in the studio. The voiceover was recorded in our home studio.
Mobile Radio
Sarah Washington and Knut Aufermann began Mobile Radio on the 18th September 2005. For the first two years the project was touring Europe without a home base.
It was established as a travelling project to build upon our work across Europe in the fields of radio and sound art which had arisen during the three years that we helped to establish the London art radio station Resonance FM. Our work takes us to media and art festivals, conferences, universities, and one-off events where we run short-lived radio stations, create special live broadcasts, give workshops and talks, design radio installations and play concerts. We also make radiophonic works for public and community radios worldwide, and produce books on the topic of radio art. Nowadays based in Germany, we continue the work of Mobile Radio with those who want to develop concepts through the medium of radio. Our mission remains the same: to seek out new forms of radio by taking radio production out of the studio environment.
Each airing of the work is unique due to a production stunt; this version was specially produced for Radia in December 2024.
hahaha bruit blanc
With the programme VIENNA CRAWLING, the Vienna Radia Collective feat. Fabi Lux would like to welcome a new guest (Fabi) to Vienna and make ‘arriving in the city’ the topic of discussion.
Equipped with the sounds of the city on their way to the radio station, the group met for a radio programme in which the concept of the programme was discussed live in an on-air public editorial meeting. Fabi Lux used the material from all the participants, including the recording of this editorial meeting, as material for a remix.
Fabi mixed the sounds with DJ software, changed speeds, added effects and asked chance if it would like to contribute to the flow. VIENNA CRAWLING is a mixtape that tells of the journey, of arriving and then inviting you to take another trip.
Sound-Recordings by Fabi Lux, Barbara Kaiser, Stefan Nussbaumer, Karl Schönswetter
Mixdown by Fabi Lux
Photo by Fabi Lux
L’histoire d’un dialogue entre les Griot·es et le baobab.
Depuis 2022, Duuu fait partie du réseau Radia, groupe international de radios libres créé en 2005, dont les membres proposent chaque semaine une émission originale à diffuser sur toutes les ondes radiophoniques. À l’occasion du Radia Show 1027, Duuu Radio propose une compilation de titres issus du vinyle « Lo gëm, mu nekk », réalisé par l’artiste Bocar Niang et édité par *Duuu en 2023.
Le vinyle LGMN est un album de rap composé de 10 titres. L’album explore ses influences musicales grâce à la multitude des langues qui y résonnent, dont le wolof, l’anglais et le français. Ce projet musical est le fruit de 6 ans de recherche, autour de l’écriture, de la composition et de la diffusion de la musique. On traduirait « Lo gëm, mu nekk » du wolof vers le français par Advient ce en quoi tu crois. Bocar imagine le concept Lo gëm, mu nekk comme un slogan pour les jeunes sénégalais. Pour donner de l’espoir et du courage à la société sénégalaise, africaine et à sa diaspora qui désespérément, subissent les dictatures africaines, qui se perpétuent.
LGMN appelle au dialogue, à l’ouverture des esprits et des mentalités, prône l’amitié, la solidarité et le respect mutuel entre habitant.es de la Terre. L’art sonore est un moyen puissant de se connecter, et de partager ensemble des “good vibes”.
Bocar Niang est né griot d’une famille de griot.te.s, à Tambacounda au Sénégal. Performeur, poète, plasticien et musicien, Bocar Niang est diplômé de l’Université Cheikh Anta Diop (Dakar) et de l’École nationale supérieure d’arts de Paris-Cergy. Il mène une thèse de recherche et création artistique au sein du programme doctoral Radian, et est pensionnaire de l’Académie de France à Rome - Villa Médicis 2022-2023. En 2013 il est à l’initiative de la création du label musicale Free Label à Tambacounda Le collectif Free Label travaille à faire connaitre et à développer la jeune création tambacoundoise sous toutes ses formes.
Textes et voix : Bocar Niang aka Bocar Freeman
Beat: Khalil Diougue, Adama Diagne, Florian della Gortiglia
Réalisation : Studio Duuu / La Villette
Prise de son et mixage : Mathis Ouidir / Duuu
Mastering : Paul Castillon / Duuu
Production : Loraine Baud et Simon Nicaise / Duuu
Co-production : le bureau des heures invisibles
Dessin : Pierre Grandclaude
Graphisme : Alice Bourdelon
Radia Show compilation : Ariel Nisand & Arthur Bécart
Merci à mes amies et proches, à mes parents et famille griotte, aux acteurs des cultures urbaines en Afrique et dans le monde, à Constance, nekkalante, LGMN.
Édité et gravé sur les platines de *Duuu
C.O.R.N!
A compilation of pieces by the Graz based band C.O.R.N!, (Patrick Wurzwallner, Nick Acorne) who as NI (natural intelligence) have dedicated themselves to the improvised emulation of pop music and beyond. Their corpus of musical content is contemporary, exuberant and for the most part freely available online.