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Libita Sibungu and Perivi Katjavivi


Libita Sibungu and Perivi Katjavivi

June 24 – 26, 2021

Libita Sibungu’s solo and collaborative projects explore the political and spiritual relationships connecting the landscape to the body, told through personal and collective diasporic histories and legacies. Research is shared through embodied acts of digging; in earth and in records—revealing lost, and buried testimonies emerging out of fugitive experiences. Installations, performance, print, text and sound, help bring to life ongoing conversations surrounding the possibilities of a living archive. Sibungu is a British-Namibian artist based in the UK, projects of note have been presented with; Gasworks, Somerset House, Spike Island, (all UK) and Cabaret Voltaire, Switzerland, (2019); Whitstable Biennale; Eastside Projects, (all UK) and Kalashnikovv Gallery, Johannesburg (2018); South London Gallery, UK, and Diaspora Pavilion, 57th Venice Biennale, Italy (2017). Website

Perivi Katjavivi is a Namibian-British filmmaker and researcher. His first feature film The Unseen played in competition at Durban. His most recent film Film Festival Film had its world premiere at the Berlinale in 2019. Perivi is currently a PhD candidate with the University of the Western Cape in South Africa. His work explores entanglements between colonial sites of trauma and contemporary modern life. He is currently based in Bristol and makes music under the moniker the pharaohs. Writings

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The untitled pacific2.wav by Libita Sibungu and Perivi Katjavivi speaks in many languages—an interlude from and to liquid bodies of light and love which their sonic poem so confidently emanates and invokes. With hydrophone recordings made in Namibia, this introduction to our project—communicating to and caring for the knowing Ocean—has such tangible warmth and immersive depth that it resonates bodies into the intangible frequencies living beyond human sense alone.

Inspired by Ben Okri’s ineffable Astonishing the Gods (2012), which also seeks and converses with invisible beings and their utopic visions, whose protagonist desires to be seen and made visible—a novel as a portal to a principled universe—Sibungu and Katjavivi sound and voice a mystical creation story through their shared ancestral histories and mythologies, as it beats and weaves blissfully into our watery bodies and hydrological cycles.

“Our highest acts of creativity are in the empty spaces,” writes Okri’s invisible guide, “in the air, in dreams, in unseen realms… If you are lucky you will partake of this higher condition, and delight in its power that transcends all boundaries… And sometimes—very rare—but sometimes nonetheless our highest creative acts, our highest playfulness, our self-overcoming, our purest art, our ascending songs, by some mysterious grace, transcend so many boundaries and enter so many realms that we occasionally astonish the gods.
—Astonishing the Gods

Abbas Zahedi

July 23 – 25, 2021

Abbas Zahedi is a London based artist, known for his interdisciplinary blend of social practice, performance, installation, moving-image, institution-building and writing. His practice emerged out of working with migrant and marginalised communities in the UK to explore the concept of neo-diaspora, and the ways in which personal and collective histories interweave.

Zahedi completed an MA at Central Saint Martins, London in 2019 and is currently the ninth South London Gallery Postgraduate Artist in Residence. Recent exhibitions and performances include South London Gallery, UK; Belmacz, London; Spike Island, Bristol; Whitechapel Gallery, London; Lethaby Gallery, London; clearview.ltd, London; Royal Academy of Arts, London; Wolverhampton Art Gallery, UK; and 57th Venice Biennale, Italy.


Sonic Support Group

Ourano Amnion 2021


Ourano Amnion 2021 is overflowing with extra- and intra-terrestrial communications - packets coming in from all sonic directions including inner, outer, binaural, and still ungraspable. The tap and rumble is a call-and-response between a Chinese Mars Rover’s traction with that planet’s surface and the antique parquet floors of a disused post office in Chelsea (London) where Zahedi’s incredibly moving Ouranophobia SW3 exhibition took place in, through, and between lockdowns 2020/21. Zahedi’s solace in that time was sensing, even caressing the unique building’s eccentric possibilities, spending weeks and months sounding out the space, gently and deeply attending to it as a condenser of intimate energies and complex perspectives.  

Ouranophobia SW3 enigmatically became a place of recompense for frontline Brompton hospital workers during lockdown, the shut exhibition taking place and offering space just across the street, which led to the development of the Sonic Support Group. Ourano Amnion 2021 is a condensation of these subtle implicate energies and forces from one of the UK’s most genuine and careful artists working today. You can almost feel Zahedi’s hand gently tapping on the forehead of the Ocean, while the second section steps eleven strides (halfway towards and halfway from) a mystical terrain beyond the ratio(nal).

(headphones suggested)

Margarida Mendes

August 21 – 23, 2021

Margarida Mendes is an hydrosonic explorer, intertidal poet and curator of metabolic fictions.

She creates transdisciplinary forums and exhibitions where alternative modes of education and sensing practices may catalyse political imagination and restorative action.

She has been long involved in anti-extraction activism and ecopedagogy, collaborating with marine NGOs, Universities and institutions of the art world to amplify her messages.


Lateral Waters


For the past months I have been working with shamans to access ancestral auditory memories imprinted in my body over the eras. I wanted to regress to the moment when we diverted from a 400 million year old common ancestor that connects terrestrial vertebrates with fish. What you listen to here is one of my journeys, where I am conducted into a trance meditation to access these somatic memories.


I had a dream some months ago where a woman walked into a wooden shack with a hand-painted indigo blue line drawn on her skin, as if outlining the lateral lines of a fish. This deep blue line was drawn from her forehead down to her feet, contouring the extremities of her chest, passing around her diaphragm and her legs. This woman had the tacit presence of a messenger, who reconnected me to the humid atmospheres of the river Amazonas in Colombia, where cosmovisions of interspecies mating are passed down intergenerationally as ecological teachings.

Later on a journey I became that woman, who was then pregnant with a fish, and gave birth to herself, continuously becoming fish.

Samuel Hertz

September 20 – 22, 2021

Samuel Hertz is a Berlin-based sound artist and researcher investigating connections between sound and climate that emphasise geologic, ecologic, and social listening practices at more-than-human scales. Having studied composition with Pauline Oliveros, Fred Frith, Zeena Parkins, and Maggi Payne at Mills College, Hertz’s performances encompass a wide range of media including IMAX films, surround sound installations, interstellar transmissions, and doom-metal concerts.

He is the author of nine essays on the relationships between sound and environment, including recent work for the Onassis Institute and contributions to an upcoming book from the Universität für angewandte Kunst, Wien. Previous work of his has been presented in such contexts as Ars Electronica Festival 2020 (AT), Palais de Tokyo (FR), Fylkingen (SE), the National Science + Media Museum (UK), and Opera North (UK), as well as working residencies at institutions such as EMS (SE), Wave Farm (US), Pioneer Works (US), and VICC (SE).

Hertz’s time has recently been devoted to DOOM (with Layton Lachman): a durational performance in the form of a doom-metal concert, with upcoming performances at the BONE Festival for Performance Art (CH), and Sophiensaele’s Tanztage 2022 Festival (DE).


Four Aquatic Mirroring Devices


Text By Sam Hertz

I lower my fingers slowly into a broad glass container of water. I watch them slip sideways and my orientation changes. Light and water together create the condition by which my hand is both whole and part. The digits begin to look physically distinct from the rest of my hand, but the feeling of my hand persists.

‘Four Aquatic Mirroring Devices’ imagines this relation to water, across bodies, sound and light. Not only when observing through a glassy, external lens, but when fully submerged in water itself as an immersive lens.

Therefore, these four mirrors offer reflective and refractive ways to understand more-than-physical relationships within and among water, within and among parts that are whole, or wholes which appear to slide apart. To see drastic changes caused by small ripples at a distance and understand them as proximal and direct. Simple melodic material is transformed, sedimented, and refracted in four ways, creating four unique sound movements. Beyond melody, the mirrors also reflect and refract timings and rhythms that translate to visually repetitive structures, alongside their aural counterparts.

In the same way that the play of light underwater creates fuzzy and distorted views of physical relationships without unbinding them, I look to the intuition of the 1996 French science-fiction film ‘La Belle Verte’ in which water itself constitutes the basis for a quantum communicative matrix. In the film, watery bodies serve as communication interfaces, based on a hydrologic relation between all bodies of water, regardless of physical proximity. Bathtubs, oceans, and airplane sinks—all hydrologic nodes—are tied in common through a diffracted-yet-substantial matrix. A hydrologic internet—not substantially dissimilar from the fibre and silicon internet, requiring immense hydro-vascular systems to keep cool—therefore ties together disparate elements through an understanding of their essential relation.

One is submerged. One observes refraction but imagines their body tied in common to any other submerged and refracted body. Human bodies are, of course, not the only submerged material. Whole and part. A communicative matrix involving submersion also ties in common those elements with which we might prefer not to communicate, and yet they are tied in common, nonetheless. Whole and part.

Listening with headphones is highly recommended.

Caitlin Berrigan

October 19 – 21, 2021

Caitlin Berrigan works across performance, video, sculpture and text to engage with the intimate and embodied dimensions of power, politics and capitalism. Her recent work, Imaginary Explosions was part of the Berlinale Forum Expanded exhibition (2020), the subject of a solo show at Art in General, New York (2019), and an artist’s book with Broken Dimanche Press, Berlin (2018). Her work has been shown at the Whitney Museum, Poetry Project, Henry Art Gallery, Harvard Carpenter Center, Anthology Film Archives, and UnionDocs, among others. She has received grants and residencies from the Humboldt Foundation, Skowhegan, Graham Foundation, and Akademie Schloss Solitude. She holds a Master’s in visual art from MIT and a B.A. from Hampshire College. She taught emerging media full-time at NYU Tisch and is a Visiting Professor at Bard College Berlin. She is an artist, writer, and researcher affiliated with the Academy of Fine Arts in Vienna and NYU Technology, Culture and Society.


A Voice Becomes a Mirror Plane Becomes a Holohedral Wand


I was curious to see how close I could get to the vent before the heat became intolerable. Approaching slowly, I took time to observe the changes in my own body as I neared the constant, broiling black cloud. My flesh agitated with tremors too deep for my ears to perceive, increasing in urgency as I neared. To my surprise, the intense change in temperature was not only tolerable, but alluring. The filaments on my limbs reached out for the vent. Every follicle hungered for heat. I followed their lead to the edge of the vent’s force and stood there, rippling at every tendril and high with satiation.

A voice becomes a mirror plane becomes a holohedral wand is a speculative fiction that plays with tones from hydrothermal vents sampled by T. Crone, et al, “The Sound Generated by Mid-Ocean Ridge Black Smoker Hydrothermal Vents,” Plos One (2006). As well as impulse responses generated from mineral crystallographies modeled by M. Aristov using VESTA: K. Momma and F. Izumi, “VESTA 3 for three-dimensional visualization of crystal, volumetric and morphology data,” J. Appl. Crystallogr., 44, 1272-1276 (2011).

The artist would like to thank Michael Aristov and Samuel Hertz for their generosity; Bethany Rigby and Julie Klinger in dialogue with whom this story germinated; as well as the Haenyo sea divers of Jeju Island in South Korea and the Kiwa hirsuta (yeti crab) for inspiring other ways of being in the body.

Andrea Zarza

November 18 – 20, 2021

Andrea Zarza Canova is an archivist and curator. She currently works as a curator at the British Library Sound Archive. She co-runs record label Mana, which publishes works at the intersection of contemporary and archival sound by artists including Aylu, Luc Ferrari, Nicolás Jaar and De Leon. Independently, she has curated exhibitions and listening installations which explore sound as a cultural, political and social phenomenon, including the Meltdown Listening Lounge for David Byrne’s Meltdown Festival, Southbank Centre, London; Charivaria at CentroCentro, Madrid, Spain; and All in Day’s Work at Rhubaba Gallery, Edinburgh, Scotland. She produces and hosts a regular show for NTS Radio, highlighting ethnographic sound recordings from the British Library’s collections.


This is the sea, an ocean away


But this is the sea

still with its back to me
in its flesh of a thousand faces all facing away
and who can decipher this
voice among voices


—excerpt from ‘Nobody’ by Alice Oswald.

This mix invites listeners to bring their ‘imagination-through-listening’ (Cobussen) and conjure the place in which the Radio Amnion platform is situated. Sounds that reflect the distance, depth and rhythmic qualities of this watery space have been put together to inspire an emotional relationship with the Ocean.

Track listing: Beatriz Ferreyra, Christine Groult - Nahash (Version 1); Everest Magama - Dya; Veetdharm Morgan Fisher – Ice Melting; Tomoko Sauvage - Flying Vessels; Toki Fuko - Spring Ray (Induction); Wanderwelle - The Starry Night; Quartet for the End of Space - Outer; Yakui - Harmoyear; Haron - Caverne; Burial - State Forest

Dark Morph and TBA21

December 18 – 21, 2021

Dark Morph is Jónsi Birgisson and Carl Michael von Hausswolff.

The Dark Morph contribution was selected from TBA21’s Ocean Archive by Director Markus Reymann and Curator Marieke Dettmer for Radio Amnion.

This album is exclusively composed of recordings made during an expedition to Vanua Levu, Matangi, Vanua Balavu, Vulanga and Totoya in Fiji, except the voices of the Humpback whales recorded in Tonga, August 2018.

TBA21–Academy is a contemporary art organization founded as an arm of Thyssen-Bornemisza Art Contemporary ten years ago. A cultural ecosystem, where ideas and concepts are seeded, tended to, and shared, the Academy is dedicated to fostering a deeper relationship to the Ocean through the lens of art to inspire care and action. We focus on a single, yet complex mission: to see a world where everyone cares for the Ocean, as the Ocean is our greatest ally in fighting the climate crisis. We do this by creating experiences based on proximity, collaboration, long-term engagement, and most importantly, care.

We acknowledge the Ocean as a living entity with a multitude of voices. We are committed to listening to and learning from these voices and to creating spaces for these voices to be heard in layered ways full of possibilities of storytelling, wayfinding, and worldmaking.


Dark Morph is a collaborative project by Jón Þór „Jónsi“ Birgissoni, vocalist from the band Sigur Rós, and composer and artist Carl Michael von Hausswolff. Jónsi has made a career on sweeping music that plumbs the depths of the human experience and our connection to the natural world. Since the end of the 1970s, Hausswolff has worked as a composer using the audio recorder as his main instrument and as a conceptual visual artist working with performance art, light- and sound installations and photography.

Jónsi is published by Universal Music. CMVH is published by Touch Music/Fairwood Music UK Ltd

Dark Morph


Dark Morph is a collaborative project by Jón Þór „Jónsi“ Birgissoni (Sigur Rós) and Carl Michael von Hausswolff. During a fellowship as part of TBA21-Academy’s research program The Current, they collected field recordings while visiting the newly established Tabu Site at Vanua Vatu Reef in Fiji and then synthesized them onboard the research vessel Dardanella. Following the itinerant practice of the Academy, Dark Morph mastered the tracks at Geejam Studios in Jamaica, while in residence at Alligator Head Foundation.

We used a lot of the recordings from Fiji, and I started to take the recordings and manipulate them, and mutate them into drones or into other types of musical functions—so we could actually use the sounds as instruments for building compositions. […] We just promote collaboration, in this case with the ocean, with other life forms. It’s about the ability not to exploit the ocean, but to collaborate, to be the kind of being that can collaborate with other beings. In our case, because we are musicians and composers, we collaborate with the sounds of the environment.


The collaborative project Dark Morph resulted in an 8 Track LP of the same name (Dark Morph), as well as a sound installation, entitled The So(ng)qe/Tovuto Kyrrahafið Sound Field, installed at TBA21–Academy’s Ocean Space in 2019.

All original Dark Morph sounds recorded by Francesca Thyssen-Bornemisza, Jónsi Birgisson and CM von Hausswolff.

Extracted, mutated, and composed on the M/Y Dardanella research vessel. Mixed at GeeJam Studios, Jamaica, by Dark Morph in January 2019. Mastered and cut by Jason Goz at Transition Mastering, London.

Produced by Dark Morph. Executive production by TBA21–Academy.

Thanks to Markus Reymann, Francesca Thyssen-Bornemisza, and everyone at the Fiji/Tonga expedition. Acknowledgments to Dean O’Connor/Big Dipper Productions.

Josèfa Ntjam

January 16 – 18, 2022

Tic-Tac, time goes on in tune. hurry, from now on we must be constellation, intangible, neither transparent nor translucent, but overflowing […] They, we, you, I, no pronoun can hold us.

Josèfa Ntjam is an artist, performer and writer whose practice combines sculpture, photomontage, film and sound. Gleaning the raw material of her work from the internet and books on natural sciences, Ntjam uses assemblage – of images, words, sounds, and stories – as a method to deconstruct the grand narratives underlying hegemonic discourses on origin, identity and race. Her work weaves multiple narratives drawn from investigations into historical events, scientific functions, or philosophical concepts, to which she confronts references to African mythology, ancestral rituals, religious symbolism and science-fiction. These apparently heterogeneous discourses and iconographies are marshaled together in an effort to re-appropriate History while speculating on not-yet-determined space-times – interstitial worlds where systems of perception and naming of fixed (id)entities no longer operate. From there, Ntjam composes utopian cartographies and ontological fictions in which technological fantasy, intergalactic voyages and hypothetical underwater civilizations become the matrix for a practice of emancipation that promotes the emergence of inclusive, processual and resilient communities.

Her work and performances have been shown in international exhibitions, including MEMORIA: récits d’une autre histoire, Frac Nouvelle-Aquitaine MÉCA, Bordeaux, FR (2021); Drift: Art and Dark Matter, residency and exhibition at Agnes Etherington Art Centre, Kingston, Ontario, CA (2021); Anticorps, Palais de Tokyo, Paris (2020); La Manutention, Palais de Tokyo, Paris (2020); Paysages alentour, Centre Pompidou, Paris (2020); Climate Knowledges, MAMA, Rotterdam (2020); 15th Biennale de Lyon, MAC Lyon, Lyon (2019); Feminism, Gender, Resistance – Act 3, Arnolfini, Bristol (2019); and Allegoria, duo Show with Kaeto Sweeney, Hordaland Art Center, Bergen, Norway (2019).

Ntjam is a member of Paris-based art & research collective Black(s) to the Future.

Watery Thoughts


It is in the blackness of abyss that I discovered how to express myself. From the dormant darkness to the off-center lights of my invertebrate friends. I take the plunge, whirring from bass to bass, the Drecxyian people accompanying me

My head is no longer the one I knew, a few gills, palms and scales have replaced a body that I wanted to forget. No need to crawl, on all fours so that you can hear me, my song is now carried by the waters, well adapted ultrasounds. Give us a few fragments and ailments of your souls so that we can appease them, here the world is upside down, land of turbulence exfoliated by time.

Dancing waves, Unghostly shapes of water,
If you put the stones in your eyes you will see the portraiture of magical blindness, I don’t see the differences of yours anymore, dancing waves, unghostly shapes of water

Nicole L’Huillier

February 15 – 17, 2022

Nicole L’Huillier works with sounds, vibrations, resonances, and multiple transductions to explore more-than-human performativity and agency from micro to cosmic scales; to create membranal and resonant (neo)rituals; and to investigate vibrations and sounds as construction materials for spaces and identity, while fostering collectivity and stimulating imagination in non-static and embodied ways. She works with new and ancient technologies for storytelling and creation to actively engage with the possibilities beyond anthropocentric perspectives and to practice decolonial worlding. Nicole is also an experimental musician, drummer, and one-half of the space pop duo Breaking Forms. She is currently a Ph.D. candidate at MIT Media Lab, Opera of the Future group, Ph.D. in Media Arts & Sciences.


Plasmática Fantástica


Plasmática Fantástica is a sonic essay about our vibrational reality. It reconnects with our plasmatic past and other types of plasmatic existence in order to refuse the ossification of being, to refuse the ossification of time, and to shake away rigidity. This is a collection of words and sounds that takes us to a drift through sonic portals and messages to unlearn and shake off stuff that keeps us stiff. This is an invitation to find strategies to navigate vibrational maps imprinted in our flesh, sonic memories that exist in our bodies.

The sounds that come together to give shape to this piece are part of sonic encounters, dialogues, explorations, and performances that took place in different locations in an extended and distributed, yet connected period of time. Part of the sounds come from electromagnetic activity while submerging inside of the Earth at CERN’s caves; a South Andean “collective flute” procession with the band la Chimuchina, and friends; a narrated remix of ideas out of conversations with cosmologists and theoretical physicists carried at CERN; a silent conversation about dark constellations, Andean cosmologies and rituals, and other secrets of the desert hidden though the filter of the Vilama River; textures and beats that tune our bodies into energetic activations while certain frequencies tune our brains into a timeless state of fluid intuition.

Special thanks to: Daniel Figueroa, John Ellis, Monica Bello, Arts at CERN, Alan Bogana, Karenn Andrea Vera Tito, Juan Carmelo Ramírez Rodríguez, La Chimuchina, Juan Necochea, Francisca Gili, Ana Rosa Ibañez, Claudio Mercado, Corporación Chilena de Video, Bienal de Artes Mediales Santiago, Residencia Simetría, ALMA Observatory, Reserva Elemental Puri Beter.

Tuomas A. Laitinen

March 17 – 19, 2022

Tuomas A. Laitinen is an artist who explores the entanglements of symbiotic coexistence. Laitinen composes situations and installations that inquire into the porous interconnectedness of language, body, and matter within morphing systems. In recent years, Laitinen has been working with questions of ecology and processes of knowledge production. The works are often produced with translucent and transparent materials to find ways to layer and diffract material relations and different ways of knowing.

Currently, Laitinen is working on his doctoral research on symbiotic processes at the University of Arts, Helsinki. In early 2022, he released an album, “Sapiduz” (Öm sound/Svart Records), a shapeshifting spectre containing traces of early music, mutated vocals, and granular electronic composition techniques.

Laitinen´s works have been recently shown in the 21st Biennale of Sydney, 1st Helsinki Biennial, 2nd Macau Biennial, 7th Bucharest Biennale, Screen City Biennale 2019 (Stavanger), SADE LA (Los Angeles), Amado Art Space (Seoul), Moving Image New York, A Tale of a Tub (Rotterdam), Art Sonje Center (Seoul), Helsinki Contemporary, Museum of Contemporary Art Kiasma, EMMA – Espoo Museum of Modern Art, MOCA Shanghai & Cinemateca do MAM Rio de Janeiro.


600HZ (of protean behaviour)


600Hz is an aural proposal for interspecies communication, a call to imagine sensuous exchange within ocean ecosystems. The work is connected to Laitinen’s research with octopuses that began in 2016. 

It is said that the common octopus registers sound in the range of 400 Hz to 1000 Hz, and best at 600 Hz. A vital component of this composition is a synthesised sound tuned around this frequency. It is sequenced as eight separate voices, echoing the octopus’ eight arms. The audio material is transmitted by a carrier, a generative system that acts as a conductor for the individual sounds. 

Eventually, the audio work develops into an abundant and layered haze of sounds that tentatively creates a sci-fi setting for multispecies encounters. 

When all else fails, octopuses rely on what biologists call protean behaviour, altering their appearance and behaviour unpredictably to evade and trick predators. 600Hz is inspired by these tentacular adaptations and processes of life emerging from shapeshifting continuums.

Analisa Teachworth

April 15 – 17, 2022

Based between New York City and Berlin, Analisa Teachworth is multidisciplinary artist whose practice encompasses sculpture, installation, digital media, and painting. Focusing on methods that address the materiality and mythology of identity and displacement, Teachworth’s works tie together personal and allegorical histories. Exploring these collective liminal states links her Indigenous Puerto Rican ancestry to the contextualizing intersections of disembodiment, adoption, and the vivifying emptiness contained within her upbringing in the landscape of abandoned industrial Detroit, MI.

Highlighting the agency of ethics used within contemporary technologies, Teachworth uses various mediums and techniques, experiments with changing formats, and historical references as tools for remodeling our relationship to the artificial. Teachworth’s methods of storytelling reveal how our technological systems function as a reality machine that defines most of our psychological and physical economies, extending far beyond our inner selves. Performative elements of her practice explore these technological tensions with a particular focus and critical reflection on the history of femininity and post-colonialism. Through her intuitive agenda, Teachworth envisions a new form of communication on both psychological and technological levels that seeks to reclaim and reconstruct not just her own experiences, but the narrative of our collective history itself.

Teachworth’s works have been exhibited at institutions including The Shed, New York; FRAGILE, Berlin; MoMA PS1; Hamburger Bahnhof Staatliche Museen, Berlin; Kunst-Werke Institute for Contemporary Art, Berlin; and The New Museum, New York. She lives and works in New York City.


A Passage


When composing A Passage for Radio Amnion, I pondered my entrance and exit from the form I reside. I wrote this language around the concept of birth, or conception, for lack of argument between the two, joining a different consciousness. When a raindrop meets the ocean, does it change? In questioning, I suppose it feels united back to its origin, altered, or maybe it remembers that sense of oneness that was temporarily forgotten during the fall. The release of this particular message coincides with my actual birth and the full moon’s light; I wanted to address some subjects to an audience in which the value of my words are not hung up on but rather intentionally expressing gratitude. My appreciation and profound delight for choice, fluidity, power, stillness, everything else in between, gleamed: an ode, a remembrance of my preference and experience.

12th House

May 15 – 17, 2022

In astrological thought and understanding the 12th House is considered the ‘unseen realm’ connected to the unconscious, to subterranean and subaquatic impulses, the ‘most liminal’ of the 12 zodiacal houses. Existing without physical form it connects to shadow, emotion, secrecy, and therefore to the mystical, ineffable and intangible. Perhaps the most powerfully misunderstood of all the houses this is one of the aural sanctuaries of Radio Amnion founder Jol Thoms.

AncestralSpectrum (BloodMoonMix)


Radio Amnion presents the 84 minute ‘AncestralSpectrum(BloodMoonMix)’ by 12th House to match the duration of the Tauran Total Lunar Eclipse. This offering to celestial (water) bodies emerges during an explicit cyclic acceleration when the shadow of Earth touches its satellite kin in the red flavours of its clays, ochres, bloods, lips and mouths.

The Total Lunar Eclipse reveals a moon waning, waxing, and fully reappearing in the same night making it an especially profound moment - according to many traditions - for healing. But the amplified powers of this event also requires great care and sensitivity. 12th House’s BloodMoonMix for Radio Amnion has an intensity of ceremonial medicine - it feels into the collective ineffable depths of our expanded selves, helping us blur into minerals and elements - a ritual for decoupling, grounding, submerging, shedding, reorienting, differing, celebrating – for compassionate being.

Track List (artist, album, title):

Ogoya Nengo and the Dodo Women’s Group - Rang’ala - Babana
Gilb’R - Houran (Gilb-r Simple Tone Mix)
Mario Diaz de Leon - Cycle and Reveal - Mysterium
Jasper Høiby - Planet B - Story of Self (w voice of Charles Eisenstein)
Lyra Pramuk - Fountain - Witness
Sote - Parallel Persia - Brass Tacks
Arushi Jain - Under the Lilac Sky - Richer Than Blood
Turning Jewels Into Water - Our Reflection Adorned by Newly Formed Stars - Swirl in the Water
Cal Stone - Baroo - Baroo
Meara O’Reilly - Hockets for Two Voices - III
Ben LeMar Gay - Open Arms to Open Us - Oh Great to Be the Lake
Asa Tone - Temporary Music - Inexplicable Notion (Location Specific)
Lee Gamble - In a Paraventral Scale - Folding
Max Cilla - La Flutes des Mornes - Crépuscule Tropical
Bambooman - Whispers - Water Break
Kemialliset Ystävät - SIIPI EMPII - Lahjapaperin tuolle puolen piirän konnan kuoren
Pale Cocoon - Sora
UCC Harlo - United - Ceres
Beverley Glenn Copeland & Kelsey Lu - Keyboard Fantasies Reimagined - Ever New (Kelsey Lu’s Transportation)
Here We Go Magic - Over the Ocean
CS + Kreme - howwouldyoufeelwithoutthatthought - April Fools
Byron Westbrook - Body Consonance - What We Mean When We Say Body Language
Andi Otto - Rwandance - Umuduri
Tunes of Negation - Reach the Endless Sea - Ruckschlag Rising Then Resonant
Mark Fell & Will Guthrie - Diffractions
ceph - elements - precipitations
Georgia - Time - Larki
Anenon - Petrol – Panes

Diana Policarpo & Odete

June 13 – 15, 2022

Diana Policarpo is a visual artist and composer working in visual and musical media including drawing, video, sculpture, text, performance, and multi-channel sound installation. Policarpo investigates gender politics, economic structures, health, and interspecies relations through speculative transdisciplinary research. She creates performances and installations to examine experiences of vulnerability and empowerment associated with acts of exposing oneself to the capitalist world.

Her work has been exhibited worldwide including solo presentations at Ocean Space, Kunsthall Trondheim; Galeria Municipal do Porto; Galeria Lehmman + Silva, Porto; Galeria Francisco Fino, Lisbon; GNRtion; Kunstverein Leipzig; Kunsthall Baden-Baden among others. Policarpo has recently exhibited, performed and screened her work at Centro de Creación Contemporánea de Andalucía C3A; Interstício, London; Nottingham Contemporary; Whitechapel Gallery, London; Museu de Arte Contemporânea de Elvas (MACE); ARCOmadrid; Chiado 8, Lisbon; Kunsthall Oslo; LUX - Moving Image, London; Cafe OTO, London; Guest Projects, London; Tenderpixel, London; Mars Gallery, Melbourne; Peninsula Gallery, New York; ICA, London and W139, Amsterdam.

Policarpo was the winner of Novos Artistas Fundação EDP Award 2019 and illy Present Future Prize 2021.

Odete is a multidisciplinary artist working between the fields of music, visual arts, writing, performance, and theatre, born in Porto in 1995. Her writings have previously appeared in Trains Magazine, Tranfeminist Zine, and others. Her work in music includes the edited EPs and albums THE CONSEQUENCES OF A BLOOD LANGUAGE (Genome 6.66 Mbp, 2021); Water Bender (New Scenario, 2020); For those who are bored paranoid (Self-release, 2019); Mooring (Rotten: Fresco, 2019); and Matrafona (Naivety, 2018). Her performances have been presented at Teatro São Luiz (Lisbon), CTM Festival (Berlin), BOCA Biennial of Contemporary Arts, MAAT Museum (Lisbon), Galeria Municipal do Porto (Porto), and Teatro Municipal Campo Alegre (Porto). In 2020 she won the ReXform Award for performing arts, from which resulted the project On Revelations and Muddy Becomings on which her first book is based.

Link to Collaboration

To Bridge the Abyss Between Lung and Gill


This composition is a sound collage that was born during the making of Policarpo’s installation “Ciguatera”, where the artists collected audio from an FM synthesizer and field recordings from the project, mixing them together to build a world of aquatic resonance. This composition takes into account the specifics of this emission and its intention to connect humanity up here above the sea with the deep down mysteries of our scaly ancestors.

Himali Singh Soin & David Soin Tappeser

July 12 – 14, 2022

Himali Singh Soin (b. New Delhi, lives between London and New Delhi)’s multi-disciplinary work uses metaphors from the natural environment to construct speculative cosmologies that reveal non-linear entanglements between human and non-human life. Her poetic methodology explores the myriad technologies of knowing, from scientific to intuitional, indigenous and alchemical processes. Outer space is often used as a place from which to navigate alien distances and earthly intimacy, rewiring ideas of nativism, nationality, nihilism and cultural flight. Her inspirations include the ancient Stoics and contemporary literature, travel diaries and ancient diagrams. By manipulating semiotic flows, she creates conditions for the observation of microstructures of social and geopoetic time. In the face of extinction, her work insists on resurgence.

Soin’s art has been shown at Khoj (Delhi), Mimosa House, Serpentine Gallery (London), Gropius Bau, (Berlin), Anchorage museum (Alaska), the Dhaka Art Summit and the Shanghai Biennale among others. She was the recipient of the Frieze Artist Award 2019. A solo exhibition of her work will open at The Art Institute of Chicago in December 2022.

Her regular collaborator, David Soin Tappeser (b. Bonn, lives between London and New Delhi) is a drummer, composer and performance artist based between London and New Delhi. His practice centres around ideas of time, interdependence and alterity. His performances and compositions use rhythm to codify, manipulate and deconstruct linear perceptions of time. They hint at intercultural entanglements, parallel histories and extra-human frames of reference.


An Affirmation


An Affirmation is a new emergence from the ongoing Static Range project: a multi-disciplinary and multi-limbed project using a real-life spy-story in the Indian Himalayas as a canvas for speculations and reflections about nuclear culture, porosity, leakages, toxicity and love; spiritual-scientific entanglements, environmental catastrophe and post-nation states. This series of transmissions that make up ‘static range’, include an animated stamp, letters, music, embroidery, healing, publications, planting and a performance installation.

Nanda Devi, meaning the goddess of happiness, is the patron mountain of the Indian Himalayas. During the cold war in 1965, the CIA collaborated with the Indian Intelligence Bureau to site a nuclear-powered surveillance device on the mountain to intercept Chinese nuclear missile data. The mountain goddess, a temperamental revolutionary, whipped up an immense tempest, and the expedition had to turn back. The plutonium powered device was stashed on the mountain with the intention of recovering it the following season, however it has yet to be found, and “could still be ticking somewhere”.

Since 1965, the plutonium-powered generator, half the size of the bomb dropped on Hiroshima, has been leaking radioactivity into the mountain, creating glimmering blue ice caves. Mysterious cases of cancer abound in the Sherpa communities of the surrounding villages, and the mountain has since been closed to subsequent expeditions.

In 1978, during the two years the sanctuary was reopened, my father, a mountaineer, went on an expedition to climb Dunagiri. From there, they took a photograph of Nanda Devi, which was made into a postage stamp by the Indian Telegraph services.

Using the conceit of the stamp, static range began with a toxic love-letter from the spy device to the mountain. This new transmission for Radio Amnion is the reply from the mountain.

The project is accompanied by a collaboration with the NGO, Live to Love, to raise funds for the aid and survival of communities across the Himalayas, from Kashmir to the Kumaon.

The music plays with faults, interference and mutations. The source materials are recordings of choirs near nuclear sites that David processed to (among other things) mimic the different types of alarm sound used at the Sellafield nuclear power plant in Cumbria.

Project Webpage

Laure Boer

August 11 – 13, 2022

Laure Boer is a multi-instrumentalist based in Berlin. Her evocative sound is inspired by noise and traditional folk music. Boer’s performances are hypnotic improvisations using traditional instruments, odd percussion and - occasionally - a voice, singing or reciting in her native French; a vibrant universe that is both vulnerable and brutal.

In last fall 2021, she had a three-month artist residency at the Sound Art Lab in Denmark, an institution in the former Bang&Olufsen factories dedicated entirely to sound art. In 2020, Boer won ACUD Macht Neu’s one-month ‘Amplify Berlin’ mentorship program and worked with Rabih Beaini, founder of Morphine Records. In 2019, she was selected to undertake a two-month artist residency in Manila, Philippines organized with the Goethe-Institut, CTM Festival, Nusasonic and Musicboard Berlin.

Her Music is released on the labels Kashual Plastik, Chinabot and Tsuku Boshi and was recently featured on The Wire magazine compilation „Below the Radar“.


On the Edge, Clouds Passing By


The drone sounds that you hear in On the Edge, Clouds Passing By are generated by light sensitive oscillators that Laure Boer assembled inside of oyster shells. The oscillators in the shells generate sounds and are reacting to sunlight filtered by clouds passing by, generating sweeping sonics while Boer performs live improvisation with the Dan Bau (vietnamese monochord) and her own voice.

To perform live with sounds triggered by natural phenomenas feels like being on the edge and following a very fragile path. I wanted to send a bit of sunlight to the deep ocean, to give a taste of what it is like on the surface. It’s unpredictable, and it forces me to be fully attentive and take care of what’s happening outside of me. It’s a very special performing experience. The oysters are a species living in-between, very close to the water surface. They build connections between the sky/light, myself, and the water world. I’m performing live improvisation. For me the process and conditions of how the sounds are created is as important as the sound itself.

We can’t communicate with the same means that we use within our human species. But maybe to open ourself with an empathic attention to the natural world is a start…

Elori Saxl

September 09 – 11, 2022

Elori Saxl makes music and film.

She released the album The Blue of Distance on Western Vinyl in January 2021 and released four subsequent music videos, Wave I, Wave II, Wave III, and Before Blue.

She’s composed music for classical ensembles, Burton, Patagonia, Google, Poler, Dove, the New Yorker, This American Life, Public Radio International, SFMOMA, and more.

She’s directed films for the New Yorker and Slate.

Her music has been featured by Pitchfork, The New Yorker, WNYC New Sounds, BBC 3 Radio, Popmatters, Dusted, A Closer Listen, and more.

Her film work has been nominated for two Emmys and been featured by the New Yorker, Vimeo Staff Picks, and festivals around the world.

She lives and works in New York.

For more info and links please visit Elori’s Website

The Blue of Distance


Combining digitally-processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Saxl’s 2021 album The Blue of Distance begins as a meditation on the effect of technology on our relationship with land/nature/place but ultimately evolves to be more of a reflection on longing and memory. The phrase “the Blue of Distance” was coined by Rebecca Solnit in A Field Guide to Getting Lost and refers to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance.

Half of the album was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter.

Saxl gives some color to the background of the album:

Being born in 1990, I was interested specifically in exploring what it means to have grown up contemporaneously with the proliferation of the internet and new technology such as Google Maps, Youtube, and smartphones filled with photos and videos that allow us to access distant people and places without being physically present. I was interested in understanding how the personal experience of memory formation may parallel humanity’s changing relationship with land through new technology that allows us access to a place or person without being physically present.

Before starting the album, I’d been listening to a lot of electronic dance music and was struck by the use of modular synths to create pulsing beats. I’d been spending a lot of time sitting outside listening to the wind and water, which I noticed were also pulsing. It hit me that maybe there was a way to use those sounds as a sound source to create beats. So basically trying to figure out how to shape wind and water into a pulsing beat that emulated a modular synth (or rather, pull out the pulses inherent in those sounds) was what led to the musical foundation of The Blue of Distance. Then I just tried to think about what acoustic instruments the electronics sounded like and just write parts that mimicked the electronics so that there was a blurring and confusion of sounds. The water and wind samples’ pitch bends and sways, mimicking a synthesizer and confusing the distinction between natural and artificial (or digital) sounds.

To support the album please visit Saxl’s Bandcamp.

Colin Malloy

October 08 – 10, 2022

Colin Malloy is an award-winning percussionist, composer, and audio programmer specializing in contemporary solo and chamber percussion, the steelpan, and music technology. His work resides at the intersection of art, science, mathematics, and philosophy. His audio effects have won awards from the Audio Engineering Society. He is the 2022 artist-in-residence at Ocean Networks Canada where he is composing new works for electroacoustic steelpan that uses the steelpan as a lens to explore climate change and how it relates to the oceans.

Colin is an award winning audio plugin designer winning first place in the 2021 AES Plugin competition. His composition, (De/Con)struction in Steel and Electricity, won first prize in the 2014 James P. and Shirley J. O’Brien Endowment Composition Competition hosted by the University of Arizona. He has degrees in Mathematics and Music, and is currently a PhD fellow at University of Victoria in British Columbia studying Music and Computer Science.


Reflection in Waves


As I composed the piece, I was fixated on the image of the moon reflecting off of the ocean. That struck me as a seemingly eternal image. Thinking about music for such ancient bodies, I decided to create a piece on a much longer time-scale than I usually work with. What seems like a long time for us is miniscule in comparison to how long the moon has been hanging over the oceans. In that vein I constructed the piece from time-stretched and processed steelpan notes. What seem like long sounds to us are probably quick blips from their perspective. Reflection in Waves is slightly over an hour long, which is long by human standards, but imagine if it were compressed to last only a moment. From another perspective, this hour-long work is just a fleeting moment of noise.

Stef Veldhuis

November 07 – 09, 2022

Stef Veldhuis is an artist based in Amsterdam, the Netherlands. The search for different modes of living and acting within organic and inorganic matter is central to his work. Through visual and aural projects he creates new perspectives in counterpoint to Western anthropocentrism. His works are meditative explorations of natural materials and phenomena that occur beyond human perception. The slow, organic processes that make up the Earth are often simulated - the installation ‘Amo et Odi’ depicts tectonic landslide - or used as a source of input, oceanographic data is translated to sound in ‘Music by Oceans’.


High Voltage Waggle Dance


High Voltage Waggle Dance uses VLF-recordings to cultivate a patient, sensory attentiveness to the visible and invisible energy-ecosystems within the air, the earth, and the non-human actors inhabiting it. The 12-minute sound work, consisting of three movements, investigates different VLF-recordings made throughout the 2022 Gornji Grad residency in Slovenia. The piece includes the crackling and whistling of lightning bolts, time-stretched signals of bees interacting with the receiver’s antenna, and recordings of electrocommunication within the hives that fall under the stewardship of the Slovenian beekeepers. The work is an assemblage of the Very Low Frequencies that inhabit our world but are always outside of our natural perception.

Natural Radio “Nature has been broadcasting globally before there was a globe. Radio was heard before it was invented, and radio, before it was heard, was.” Natural Radio describes naturally occurring electromagnetic signals emanating from lightning storms, aurorae, cosmic radiation, and Earth’s magnetic field. Most of Earth’s natural radio signals occur in the very-low-frequency (VLF) spectrum, between 3 and 30 kilohertz. Unlike the sound waves that our ears pick up, natural radio waves are vibrations of electric and magnetic energy which fall outside the range of human sensory perception.

Electroreception and Electrocommunication in Bees Electroreception, the ability of an organism to detect external electrical forces, has long been observed in animals living in aquatic environments, for example, in fish, amphibians, and reptiles. More recently, bees have been shown capable of detecting and altering weak electric fields.

Bees gain a charge as they fly through the electric gradient within the air. It is this charge that is a key factor in their ability to detect and broadcast electric fields. Even slight changes in charge can cause large gains in electromechanical sensitivity of both the bee’s hairs and their antennae. It is also crucial within the electrical ecology of pollination. A bee’s positive charge will induce a greater yield in pollen exchange between itself and any negatively charged flower it visits.

Honeybees also use electroreception as a means of communication. Returning honeybee foragers perform a waggle dance, which communicates details of food sources to other workers within the hive. In addition to spatial cues, electrical signals are produced by the vibrating bodies of electrically charged foragers.

During my field research in Gornji Grad, I was lucky enough to record the electrical signals produced by a dancing bee. This intimate recording, which I encountered at one of the many beehives of beekeeper Matej Krebs, has found its way into the final composition without any alteration. One can hear its pulsing and beeping between the first and second movement of High Voltage Waggle Dance.

Electroreception/communication in Fish Whilst the ability of insects to perceive and alter small electric fields has only recently been uncovered, electrocommunication occurring underwater has been researched extensively. There is an abundance of fish that communicate by modulations within the electrical waveform they generate. These signals are used to attract mates and to demarcate territories. Male knife fish for instance produce a continuous electric signal to attract females, which consumes a big part of their total energy budget. Large males produced signals of larger amplitude, which are preferred by the females. Predators like sharks have evolved to tune into these and other electrical signals to detect and devour hidden prey.

Broadcasting High Voltage Waggle Dance at Radio Amnion brings one electric ecosystem in contact with another. One harnessing its surroundings as a source of charge, the other using the water as a conductor for information. Parallelly evolved to utilize the same wavelengths within vastly different biotopes. An interspecies broadcast showcasing the wide range of signals that lie just outside of the boundaries of human perception.


High Voltage Waggle Dance has been created during Rezidenca Gornji Grad 2022 with the help and guidance of Meta Drcar, Amanda Kladnik, Matej Krebs, and Maja Zerovnik.

Special thanks to Vic Willems for mixing and mastering the final track, and to Dr. Hidde Leijnse for his meteorological counsel.

Matt Warren, Sally Ann McIntyre & Dani Kirby with Eliza Burke

December 07 – 10, 2022

Sally Ann McIntyre

Sally Ann McIntyre is a radio/transmission artist, poet/writer and researcher from Aotearoa (New Zealand) and lutruwita (Tasmania), who currently lives and works in Naarm (Melbourne). As the operator of the site-specific transmission art project station radio cegeste 104.5, sally creates conceptual, improvised, and compositional works for the medium of micro radio transmission.. She is formally interested in the liminality of radiophonic space, and how the fragility of small-radius transmission can work to reveal inaudible aspects of sites as well as uncodified noise within the spectrum. radio cegeste is primarily an event-based station but occasionally its ephemeral transmissions are released as solo or collaborative recordings. it has published work on labels including winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder.

Sally’s sound work also includes related ongoing practice-led research under her own name, that delves into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Her work often intersects with, and interrogates, the sound archive as a formation, and asks how to situate the indeterminate within structures of ordering. She has worked extensively with cultural and technological aspects of the recorded and unrecorded sounds of extinct species, and her works investigating the intersections of settler-colonial histories, species extinction and the sonic trace have been extensively performed and exhibited, most recently in Germany, Italy, Aotearoa/NZ and the UK.

Sally also works as an academic educator in the fields of Media Studies, Art Theory, Literary Studies and the Creative Arts, across institutions including the University of Melbourne, Deakin University and Melbourne Polytechnic.


Matt Warren

Dr. Matt Warren is a lutruwita/Tasmanian electronic media artist, musician, curator and writer, based in nipaluna/Hobart. His art practice encompasses immersive electronic installation, single channel video and sound works. The works investigate memory, transcendence, liminal space and the suspension of disbelief. Warren considers his art and installation practice as part of a greater context aligned to psychedelia, digital abstraction and hauntology.

His music and sound practice has a basis in both composition and improvisation. He performs and records electro-acoustic and drone works, solo and collaborates with others under a number of monikers.

Matt has exhibited, produced sound works and had screenings in Canada, Czech Republic, Germany, New Zealand, Portugal, Spain, USA and throughout Australia. He has held residencies with Jean-Yves Thériault in Montreal, Canada, with Damo Suzuki in Köln, Germany, Burnie High School, Tasmania and multiple residencies at CESTA (Tábor, Czech Republic).

Since 2014 he has designed sound and video as part of the Unconscious Collective for events in festivals such as MONA FOMA, Dark MOFO, The Unconformity and M*Sync and public art projects at University of Tasmania’s Menzies Centre and the Dunalley Primary School. He currently teaches Sculpture & Time Based Media, Sound Art & Media and Critical Practices at the University Of Tasmania.


Dani Kirby

Dr Danielle Kirby is a musician and researcher currently based in nipaluna/Hobart. Her work explores atypical metaphysics and aesthetics through site-responsive improvisation and experimental post-classical composition.

Dani has a 20+ year track record of composition, recording, and performance, as well as internationally published theoretical and scholarly works around performance, media, art, and belief. Recently, her work has been included in festivals such as The Unconformity, MONA FOMA, Dark MOFO, Melbourne Music Week and Hobiennale, and performed at galleries such as Contemporary Art Tasmania, MONA, Percy Grainger Museum, and the Moonah Arts Centre. Her scholarly work focuses on atypical beliefs, emergent metaphysics, and digital cultures.


Eliza Burke

Dr Eliza Burke is an independent curator and writer based in nipaluna/Hobart. Her work explores the creative potential of hybrid and collaborative projects across the arts and sciences with particular interests in new materialism, bio-arts and spectrality. She holds a PhD in Comparative Literature and Cultural Studies (Monash University) and an MFA in Art Theory (University of Tasmania), and has held a variety of curatorial, project coordination, research and teaching roles across the arts, social sciences, health and education sectors. Her writing includes critical essays and research articles, exhibition essays and reviews in academic and non-academic publications including Australian Feminist Studies, Feminist Media Studies, Sydney Review of Books and Artlink. Burke has developed many exhibitions for gallery and non-gallery venues, heritage sites and contemporary spaces including exhibition and audience engagement resources such as films, websites and education programs and guides. Burke maintains her independent curatorial practice whilst working in children and young people’s public health programs in nipaluna/Hobart.


Nocturne: Sonic Migrations


Nocturne: Sonic Migrations is a collaborative composition and live-performance sound and transmission artwork exploring relationships between whales and other marine species, humans and the marine environment. It is addressed to historic Southern right whale populations of the Derwent River in nipaluna/Hobart, lutruwita/Tasmania, that were hunted to near-extinction in the 19th century by British invaders. In settler-colonial accounts, t whales were once so numerous in the Derwent that their sound kept local residents awake at night. The work attempts to listen to these entangled more-than-human legacies through/against their contemporary ecological silencing, traces resonating through a contemporary restlessness about ecological disasters of human making, and centuries of unsettled sleep.

Warren, McIntyre and Kirby employ a range of mediums such as radio transmission, theremin, electronics and live vocal performance, to present a series of sonic ‘migrations’ across several datasets and sites. The composition invites listeners into a submerged, episodic, dreamlike soundscape that follows six stages of the human sleep cycle, blending bioacoustic data from the Australian Antarctic Division’s Southern Ocean voyages, recorded and live environmental sound, live electroacoustic elements, and recorded vocal interviews with nipaluna/Hobart residents. Throughout, the project’s subtle shifts in mood and expression, which produce an abstract narrative, simultaneously familiar and alien, combines acknowledgement of violent pasts of resource extraction with contemporary and future imaginings of whales as kin. Moving beyond human-centred listening spaces Nocturne: Sonic Migrations re-imagines the local marine environment as both a regenerative and haunted space and a significant site for interspecies communications.

This collaboration with the Radio Amnion platform materially and conceptually extends Nocturne: Sonic Migrations in several fruitful directions. Firstly, moving the project from its initial site-specific presentation on the Hobart/nipaluna waterfront in February 2022 - where it was heard by a (predominantly) human audience at the approximate site of historic mass cetacean bio-extractive slaughter - to the further translation processes of underwater broadcast. Secondly, this re-transmission moves the original concept of a mourning and memorialisation ritual that acknowledges settler-colonial violence and complicity in the ecological silencing of whales and their entanglement with the economics of empire, and re-orients it toward a future that places the work among living cetaceans, the sounding of their complex social systems, and their wider ecologies. In this, we encounter the very real possibility that our work will be heard within a wider ecological circuit of oceanic sensory and communicative exchange; addressing not only individual creatures or species but, through entering into relation with their communicative networks and living relationships, a Pacific ocean itself “considered as a sentient type of being, a living, knowledgeable creature.”



Nocturne: Sonic Migrations was performed on the nipaluna/Hobart waterfront, lutruwita/Tasmania, on February 18, 2022. It was assisted through Arts Tasmania with support from Constance ARI and The City of Hobart’s Creative Hobart. The artists gratefully acknowledge Dr Brian Miller and the Australian Antarctic Division for generously sharing their bio-acoustic data for this project. Thanks to Ivan Johnson for recording this event.

Anne Bourne

January 05 – 07, 2023

Anne Bourne, Toronto/ Tkaronto, a composer/ artist seasoned in international song and intermedia creation, performance, and recording; improvises emergent streams of sonics, AV field recordings and text. Anne offers gatherings and listening walks for collective creativity drawing from the sonic meditations, text scores and deep listening practice of her friend and mentor Pauline Oliveros.

An improvising performer in the premier of Oliveros’ Primordial/Lift and all subsequent performances. On the Board of Trustees for MoM/ Pauline Oliveros Trust; facilitator at the Center for Deep Listening, NY; Chalmers Arts Fellow; drawn to environmental humanities and ocean literacy, Anne became an ongoing participant in TBA21Academy/ OceanSpace, Venice and the Geopoetics Symposium convened by poet Erin Robinsong on the north Pacific Gulf Island, Cortes. Recent commission, a multichannel audio installation titled soundfield: nearshore, adjacent to sculptural installation confluence, in resonance with the buried tributaries under the shoreline of Toronto. And Care for the Stranded, a shoreline listening walk, in collaboration with Learning Endings: artist Patty Chang LA, Wildlife pathologist Aleksija Neimanis SE and cultural theorist/author Astrida Neimanis CA, near the site of a whale stranding Lincoln Park, Seattle/ The Henry. Anne continues to record collaboratively, currently with composer/producer Kara-Lis Coverdale.

Anne explores themes of equanimity, translation, microtonal sound, listening; I walk the littoral as embodied sonic archiving, quantum listening within a multispecies sound field, composing in attunement to the wave patterns of water.


Fathoming lithium, sediment of pearls 


“When you listen particles decide to be heard” (1), Oliveros said

this suggests the possibility that when I send tones into the ocean the ocean and all its intricate particles and waves can decide to listen.

I have given deep thought to what to play into the ocean location

how can sounds honour what is already there? leave listening space within the sound? can you imagine the sound of luminescence?

if in my perception I can match the vibration of a species or a wave pattern, a particle field resonance, without affirmation beyond trust can the ocean and all its microspecies decide to listen?

if I can harmonically interface with the life that is there, the whole intelligence, the being of the sea and the ocean as the primary essence of this planet and then on certain frequencies travel to other parts of the ocean and radiantly to space …

in my sonic dream with all cetaceans, fish, kelp beds, reefs, shellfish, microbial life, luminescent particles, all unknowable deep ocean, I am walking on the ocean floor on lithium pearls. The ocean being a vibratory mystery of quantum particle and wave patterns to me. An iridescence. An opening.

after reflection with a sense of asking what sound would the ocean want in an environment so fully dense with other beings and messed up with machine sound from human vehicles and devices of extraction

and what sound would the listeners ask for to help assuage the concerns of imminent Deep Sea Mining and other plunders and loss

my sounds move like water and can be perceived as if the listener is immersed in water I owe my knowledge of form to bodies of water… and a lifetime of crossing the surface wave patterns, swimming and sounding for the depths fathoming

to turn around, to dive underwater, to disappear

maybe this makes me letting go of this piece into a transpersonal gesture more than human as a way of being quiet

(1)* Quantum Listening *, Pauline Oliveros, Laurie Anderson, Ione. IGNOTA 2022

(the low tones should be perceivable felt through your whole body and even a non-hearing person or cetacean may be able to perceive our intention of offering protection and well-being and a way through sonics to process the grief of extinction and a way through)

voice improvisations in the Library of Water in Sykkisholmur Iceland with my arms wrapped around the crystal cylinders of melted glacier water singing with the intention of voicing their living microbiological identity

a field recording from the west coast of Ireland where I was walking on dry seaweed on the strand and finding several focal points at once, separate from wind, that was the sound of the sea

a sample of the infrasonic pulsing of a Blue Whale

a contemplative piano motif from St Andrews by the Lake an old wooden church on the Islands offshore Toronto in Lake Ontario, recorded the night gale force winds pulled several trees from the earth by their roots

new waves and microtones of cellos recorded for this piece in a forest near Georgian Bay

Composer/ Artist Anne Bourne lithium cellos recorded by Graham Walsh, sediment cellos recorded by seraphim Tambor Brandon Valdivia Library of Water voice improvisation track mastering Phil Strong Field recording of glacier melt courtesy of Susan Schuppli Blue Whale infrasonic calls courtesy of MBARI Field recording of the coast, Eyeries, Cork, Ireland

gratitude to Jon Leidecker, Kara-Lis Coverdale, Astrida Neimanis

Abinadi Meza

February 04 – 06, 2023

Abinadi Meza is a Latinx-Indigenous sound artist and filmmaker based in Austin, Texas. He makes experimental compositions, films, pirate radio transmissions, installations, and live performances. Meza’s work often engages with non-human life, ambient forces, materiality, and atmo-politics; he is interested in revealing or opening latent and parallel layers of reality.

Abinadi Meza’s sound works have been presented at: Abrons Art Center/Henry Street Settlement, New York; Contemporary Arts Museum Houston; Deep Wireless Festival, Toronto; Helicotrema Festival, Venice; Irish Museum of Modern Art, Dublin; Lisbon Architecture Triennale, Lisbon; Matadero, Madrid; MAXXI, Rome; Radio Kinesonus, Tokyo; Radiophrenia, Glasgow; Radius FM, Chicago; Resonance FM, London; Sonorities Festival, Belfast; Starfield Simulation, Mälmo; Walker Art Center, Minneapolis; and Wave Farm, New York.


Chorion: A Film


Chorion: A Film is an experimental composition made with analog electronics and materials (such as an electrified wire gently touched to metal), anticipating the full Snow Moon of February. Created for Radio Amnion, the intention is to unfold a protean bliss, an exchange between forms, and transmitting blooms of colour into the abyssal dark. Chorion: A Film is intended to be a sonic space for dreaming.

“I wanted to offer rich and vibrant drone tones and cleansing electrical textures to the Oceanic bodies of all listeners - a sonic space for dreaming. If you listen with higher-fidelity speakers or nice headphones you should have even more detail and “space” (especially in headphones…it has a very wide sonic field…)”

José Alejandro Rivera

March 06 – 08, 2023

José Alejandro Rivera (he/they) is a neurodivergent sound artist, composer, designer, and researcher. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for the moving image, radio broadcasts, transmission art, and multichannel, audiovisual installations and performances. He regards natural and built environments as woven fabrics of association that exist and change across phenomenological, political, cultural, and aesthetic dimensions.

In performances, they often use the space as an instrument, incorporating live and processed location recordings, various microphones and DIY electronics, radios, custom software, samples, and spatialized, textural elements that oscillate between noise and music. José’s encounters with the electromagnetic spectrum pursue expanded states of consciousness, sonic agency, sites of contingency and multiplicity, science fiction, and notions of identity as it relates to neurodivergence, language, diaspora, and queerness. José’s practice also includes listening beyond sound, learning from the wisdom of plants and medicine making, regenerative farming, dreamwork, meditation, and movement practices like Qigong and yoga.

As an extension of José’s aural cartographic practice, he performs and makes electroacoustic pieces as Proxemia. His work has been shown internationally in physical spaces, and has been featured on radia.fm, Wave Farm WGXC-90.7 FM, disquiet.com, framework radio, Rare Frequency, and textsound.org, among others. His multi-year exploration of the origins of weather mapping, radar, and the Green Building at MIT (2016-19), resulted in performances, a handmade cd/object, and a ground-level, 8.1 channel radio installation that mixed live transmission of spatial resonances with sonified weather data, custom software, and location recordings from the roof’s weather station.

They studied art and sound in MIT’s Program in Art, Culture, and Technology (MSc 2017), and hold a BS in Architecture & Environmental Design from Kent State University (2011). They are currently based in southwest Vermont, US.

Learn more at their website

Blue Ecology for Future Memory


Blue Ecology for Future Memory imagines a near-future science fiction scenario from the perspective of Cloud Coverage, a new cloud-based telepathy therapy recording service, and the latest project from one of the most profitable companies in the field, Isostasy Teletherpathy Equilibrium. Their innovative technology allows users access to their own minds, the freedom to explore the depths of their own psychology with an artifial intelligence therapy subscription app, Isostasy. A headset is required for harvested biometric data to inform the Emotional Energy Web Connection, which powered by patented Empathy Support Technology TM, the AI engine behind the award-winning, Isostasy Voice Companion.

The session recording mysteriously begins in the middle of the now famous exchange, when Amber The Therapist asks to user to share about how they have been singing in their sleep again. The sequence of tones heard while asleep spurs an intimate outpouring that sees the user enter a future dream in the present of memories, an exciting time when they experience swimming in a bioluminescent lagoon in Puerto Rico as a child. In the nature of the recording, the user speaks in the present tense, so it is unclear if the session displays either (or all together) a dream, an active memory, a state of hypnosis, a remote glimpse into multiverse multiplicities, or past-life regression. Whichever, time reveals that they encounter the Dinoflagellate Overmind, a phytoplantkon super consciousness that is behind both the cobalt-colored water lightening, and also the only marine product to be listed as a chemical weapon, Saxitoxin.

In each moment, the user’s hypersensitive experience of alien contact becomes a whirling portal that enables the telepathic Pyrodinium Bahamense to enter the session, rippling through the system and generating copies of itself. This type of interspecies meta-teletherpathy is a phenomenon now known as Vertical Migration, or in this special case, Double Contact at the Event Horizon. In this particular instance of an expanded state of interspecies communication, it seems as if the user is able to receive messages in the form of eco-cultural technologies that contain ancient secrets. At the same time, Pyrodinium is corrupting the Isostasy Voice Companion with the potent neurotoxin, Saxitoxin. The session recording captures multiple psychosonic knowledge transfer disruptions due the various system glitches occurring during the dynamic exchange, which is all of a sudden cut short due to an apparent combination of an expiring free trial period and a lack of Wet Coin funds in the user’s account.

There is a healthy amount of skepticism about this recording in the public due to the whistleblower’s claim that what we hear now is a redacted version. Some say they have heard the full original recording which includes the “lost time,” capturing the user’s multiple contact experiences with greater depth. Many have speculated that the user’s dream tones simultaneously serve as a software update, a cosmic download, and an ancient key-seed that, once dormant, now awakens to activate something deep within the user’s being. The hidden audio footage allegedly reveals shocking details of the dinoflagellates’s true ancient origins as fallen sentient moon dust, and their ongoing activities at a UFO base under the island, found deep within the waters of the Puerto Rican Trench.


Text, voice, and sound by José Alejandro Rivera (Proxemia).

Featuring AI voices Amber and Cora from speechgen.io

Cucina Povera

April 05 – 07, 2023

Cucina Povera is the solo project of Finnish-Karelian-Luxembourgish sound artist and composer Maria Rossi, focusing on the marginal and the observational. The repeated motifs in her work are an uncanny testament to the beauty of banality, infused with the mysticism of everyday life and a love for accessible sound sources such as creaky tenement floors, boiling kettles and leaky taps – stories told by means of cheap and rudimentary equipment. Like in the titular practice of peasant cooking, Rossi takes simple ingredients and makes a stylistically resourceful, spontaneous and swirling alchemy that primarily makes for a creative respite from the hubbub of the metropole.

Cucina Povera on Bandcamp on Spotify

Steps & Stoppages


‘Steps & Stoppages’ is a swimming thesis in four parts. Angelic voices mixing with parasitic sounds of processing units, wavering among the imagined, ungraspable lives of sea critters and elusive particles. 

Focused on repeats, laps, loops and reiterations, centered on the notion of uncovering.

It’s disjointed just like one’s thinking, morphing to fit shapes found roaming along new coastlines.

The lapses, lapsuses and lacunae part and parcel of discovering newness. Errors and misjudgments. Without which we might not achieve and appreciate the wholeness of arrivals.

L. M. Ramsey & Kalas Liebfried

May 04 – 06, 2023

Kalas Liebfried is a German-Bulgarian multidisciplinary artist and curator, based in Munich. He studied sculpture and time-based media at the Academy of Fine Arts Munich and Philosophy at the LMU Munich. Central to his work is the exploration of the sculptural and socio-political potentials of sound. Methodologically decisive are collaborations and interactions, in which other artists and audiences are understood as an active and formative part of the projects.

His works have been shown at i.a. Musée d’Art Moderne (Paris), National Gallery (Sofia), Lenbachhaus (Munich) and Pinakothek der Moderne (Munich). He has been awarded numerous grants and stipends, among others, the City of Munich Scholarship for Visual Arts (2022) and the Bavarian Culture Prize (2019). Liebfried is founder of the non-entity organisation for sound PARA, and co-organizes the independent art association Rosa Stern Space in Munich. In 2022 he founded the interactive encyclopaedia Fragments of Sonic Extinction.

Liebfried’s website

L. M. Ramsey is a Toronto-based archivist and imaging specialist. She is known for her use of data visualisation & sonification to explore the natural world, imaging processes and computational awareness. Her artistic practice is informed by archival structures, computational ecosystems, and the ethical considerations of non-human animals, plants and machines. Her recent work Living Data, Presumed Dead, exhibited at Critical Distance Gallery (2022), was the commissioned result of a residency with Trinity Square Video, alongside an artist’s book co-published with Art Metropole. She holds an MA in Film and Photographic Preservation from Toronto Metropolitan University, and a BDes from Alberta University of the Arts. She teaches Digital Applications in Collections Management to emerging museum professionals and her work has been shared recently at The Centre for Culture and Technology, Critical Distance Gallery, The Bio-Creation Station hosted by MIT Media Lab, InterAccess and Fragments of Sonic Extinction.

Ramsey’s website



In Tom Mustill’s novel How to Speak Whale, he points out ‘..it was Katy Payne who led the way in showing that the songs sung by whales are constantly changing – something that is unusual for singing animals.’ HYPERACID is an ancestral anthology of whale vocalisations assembled from archival hydrophone recordings collected between the years 1940-2000. The combined sounds are linear, with the recordings from the 1940s playing for the first minute, followed by the 1950s, and so on, until we reach the year 2000 at the six minute mark. These generational vocalisations are united to the backdrop of an orchestra tuning their instruments, until they are existing as many individuals not separated by time, but all at once, in tune.

Since the beginning of the industrial revolution, the concentration of carbon dioxide has risen significantly, causing a shift in the pH of the ocean, resulting in acidification. This shift has had an impact on many living organisms. Shell builders like oysters and corals for example, have had a hard time finding enough carbonate ions to maintain their calcium based structures. Recent scientific conversation amongst humans has hypothesised that ocean acidification has impacted how sound propagates through the water. The amplification of some sounds and the silencing of others may result in a significant human led shift away from the natural evolution of the cultural languages and sonifications of these individuals, placing them out of tune with one another.

This was our call to action, to assemble this historical data, and to share these songs with the only ones left able to listen. This work is for the whales.

Blanc Sceol

June 03 – 05, 2023

Blanc Sceol are Stephen Shiell and Hannah White, an artist duo whose practice has emerged & expanded throughout years of working together across performance, composition, participatory actions, deep listening facilitation (certified practitioners), somatic & ritual gatherings. They create performances that have been described as ‘transcendent’ ‘other-worldly’ & ‘ethereal’, reflecting their attempts to expand themselves through listening & sound - beyond physical limits - & to extend this personal/performance practice into the collective.

Blanc Sceol’s compositions, interventions and performances express the experience of place, anchored in what is found in a landscape but re-imagined into new territories. Shiell and White create encounters to connect both materially and energetically to their surroundings. As certified Deep Listening® practitioners they regularly run workshops and sound walks exploring listening and sound making in public spaces. They’ve worked with a variety of experimental platforms such as Anti-University, Fort Process, We’re All Bats, MIA festival, Art’s Birthday and cultural institutions such as Ashmolean Museum, The Royal Academy, Centre for Art and Media Karlsruhe and Oxford Contemporary Music.

In 2018 they’ve established Surge Cooperative, a collaborative effort to benevolently occupy the Channelsea river in London. Their research seeks to live with, listen with and act with this vital living system, finding new ways to tackle problems of neglect and misuse whilst navigating ancient acts of parliament and institutional backwaters.

Personal Website

Listen on Soundcloud

Read the Newsletter Archive



Through our sound and ecology work with Surge Cooperative on the Channelsea river we have found connection to Abbey Mills pumping station, Joseph Bazalgette’s Victorian ‘cathedral of sewage’, his overground homage to the underground network of pipes that still move humanure beneath the city today.

This audio work captures the spinning frequencies of the Orbit, recorded in the chambers of the sewer substation, to be played out to the depths of the deep sea, creating a poetic resonance between these sounds and spaces, a spell of connection between the clear, linear, progressive features of our engineered water networks and the dark, wet, yielding, cyclical unknowns of the deep sea, where the telescope searches for neutrinos and on the full moon translates human-made frequencies into light and vibration for the sentient sea.

Orbit: A red cedar decagon body, the resonating chamber, spun by one set of hands, bringing rhythm and flow, with the changing pace of the orbit, as the other hands hold a bow to the ten strings, seeking out the varying chords and harmonic frequencies. As the duo work together so the orbit begins to sing and soar: a myriad of changing whirling pitch shifting drones.

The words in the piece are a series of ‘one word poems’ created by participants from our ‘Sonic Meditations with the Full Moon’ sessions over the last year. Working with moon time through our deep listening practice, and the tidal phases of the Channelsea river, ‘Orbit’ coordinates these cyclical flows in celebration of the fullness of the cosmic body that holds the tension between the earth and its inhabitants, and gives us all rhythm.

Watch the trailer for Orbit on Vimeo

Orbit was recorded and mixed by Ian Thompson. With support from Karina Townsend and Owen Tucknott. Many thanks to Dina Gillespie at Thames Water for kind permission to record at the pumping station.

Antonina Nowacka

July 02 – 04, 2023

Antonina Nowacka Vocalist and sound artist with a deep interest in the nature of sound, particularly its effect on the nervous system, as well as the ways music can put the performer and audience in a specific state of mind. Using the voice as the most organic synthesizer and a primary tool of creation involving extended vocal techniques, folk and eastern culture influenced vocal practices, space resonances as well as various forms of sound processing and synthesis to create minimalistic imaginative landscapes.

Studied traditional Indonesian music and Indian classical hindustani vocal under the supervision of Gwalior style master Shashwati Mandal.

Releases: 2020 Lamunan (Mondoj) 2021 Vocal Sketches from Oaxaca (TakuRoku) 2022 Languoria with Sofie Birch (Mondoj/Unsound)

Performances (2022): KRAAK festival, Antwerp / The Cube, Bristol / Cafe OTO, London / KM28, Berlin / PLATO, Ostrava / Pardon To Tu, Warsaw / MELA festival, Schaubmarov Mlyn, Pezinok / Foksal Gallery Foundation, Warsaw / International Film Festival Nowe Horyzonty, Cathedral of St. Mary Magdalene, Wroclaw / Up to Date festival, Branicki Palace, Białystok / LOM, Bratislava / Bourse de Commerce, Paris / Enjoy Jazz festival, Mannheim / Unsound festival, Słowacki Theater, Cracow / National Museum, Warsaw / Mouches Volantes, Cologne / Lincoln Center, New York / The LOT radio, New York / Centro Cultural de España en México, Mexico City / Estación Morelos, Oaxaca

Press: The Quietus Albums of the Year charts: 2020 Lamunan (65) / 2021 Vocal Sketches from Oaxaca (92) / 2022 Languoria (49)



ocean touches the eternal borderless beauty of tidal patterns and nonlinear flows, while remaining grounded in the depths of the waters cyclic histories of loss, regeneration, thirst, and gift. An ecstatic seduction to what is sacred of waters, ocean crashes on the shores of our listening bodies, quenching a fluid longing. We feel the overwhelming joy and subtle dread that this hymn arises from and attests to: from the gorgeous heart and soul of one of the most exceptional experimental vocal artists practicing today.

Eve Egoyan

July 31 – 02, 2023

Eve Egoyan is an internationally celebrated Armenian-Canadian artist whose medium is the piano. Since 2009 Egoyan’s artistic curiosity also includes collaborating with artists from a variety of disciplines including the exploration of technologies in relation to the piano. Her works for augmented/acoustic piano delve into the space between what a piano can do and what Eve has always wished it could do. At their core is the live acoustic sound of the piano, but through the delicate intervention of technology, Eve tests (and teases) the edges of that sound, pushing it beyond the familiar, through the impossible, and into the extraordinary.

She has recorded twelve solo CDs which have received accolades including “Best Classical” The Globe and Mail (1999), one of “Ten Top” classical discs, New Yorker magazine (2009), and “Top Classical Disc of the Year”, The Globe and Mail (2011). These discs primarily feature works which Eve commissioned. Renowned composers James Tenney (U.S./ Canada), Alvin Curran (U.S.), Ann Southam (Canada), Rudolf Komorous (Canada), Maria de Alvear (Germany), Michael Finnissy (Britain), Karen Tanaka (Japan), Martin Arnold (Canada), Linda Catlin Smith (Canada) and Jo Kondo (Japan) have written for her amongst many others.

Eve is one of Canada’s primary ambassadors for Canadian music abroad. She is one of fifty Canadian performers and conductors given the designation of “CMC Ambassador” by the Canadian Music Centre. Eve has performed as a solo artist at the following international festivals amongst others: Canberra International Festival, Luminato Festival, Sydney Festival, Klangspuren Festival, Transart Festival, Modulus Festival, PuSh Festival, Huddersfield Festival, ISCM (Vancouver), Kwadrofonik Festival, Other Minds Festival, Images Festival, 21C Festival, Nuit Blanche (Paris), Sound Symposium, Open Ears Festival, Dias da Música, Festival Domaine Forget, Vancouver International New Music Festival, and the Kobe International Modern Music Festival.



Eve premiered a series of works for augmented and acoustic piano (Piano NEXT) during the 21C Festival at Koerner Hall, Toronto, January 16, 2021. This recording of Tidal is from that live event. Beginnin with an immense undertow of sound pulling is out to the Pacific, the piece continues to produce a feeling of aural vertigo similar to walking along the coast as the water flows and over flows in and out, over and through itself.

On Piano NEXT: Egoyan augments and extends the sound range of the piano while maintaining the physical relationship that exists between piano and pianist. Both are performed on an acoustic piano equipped with a non-invasive keyboard interface that Eve travels with on tour. Eve’s works for augmented/acoustic piano delve into the space between what a piano can do and what Eve has always wished it could do. At their core is the live acoustic sound of the piano, but through the delicate intervention of technology, Eve tests (and teases) the edges of that sound, pushing it beyond the familiar, through the impossible, and into the extraordinary. In her own works for augmented/acoustic piano, Eve uses a physical modelling synthesizer that allows her to manipulate all the physical variables that determine the sound character of an acoustic piano but also for extending the character of the sound of the piano outside its normal range. By using the acoustic piano to trigger the modelled piano, and then mixing the acoustic and modelled sounds together, Eve augments and extends the sound range in totally new ways.

Blood Moon Project

August 30 – 01, 2023

Blood Moon Project is an experimental trio between vocalist/producers Heloise Tunstall Behrens, Tanya Auclair and Luisa Gerstein. They come together to explore the voice, electronics and percussion, drawing on their shared fascinations with polyphonic singing traditions, Deep Listening practices and composing collaboratively. The trio make music like a game of consequences - where parameters are agreed for each of them to use their voice plus one instrument/sound, a guiding theme and a bpm - then the three simultaneously write and then pass on what they’ve made to the next person, who adds new layers of voice and instrumentation to the music, until they have all put something of themselves into each other’s work. It’s an approach they love and keep returning to, for the surprising outcomes and exciting combinations.

Bandcamp Instagram

Oblique Subduction


Oblique Subduction is a serenade to the Cascadia Subduction Zone, where the Explorer, Gorda and Juan de Fuca plates converge, and are thrust beneath the North American plate into the Earth’s mantle. We dropped into tectonic time to sit with these colossal movements and processes of 7700 years in the life of the CSZ, and compressed our human response into 7 minutes. We each take on one voice for each of the three tectonic plates and reflect single tones back into the abyssal plain at a time, at intervals that mirror the rate of their movements. The three tones gradually converge to make chords that slowly push and grow into new chords, disintegrate, at points developing into quakes and eruptions. 

Awe-struck by this primordial zone, we’re honoured to have the opportunity to offer it an expression of our wonder. The first broadcast will be to the waters of the Celtic Sea at Cornwall - while the Pacific Ocean Neutrino Experiment Telescope surfaces for renewal work - and once it and the Radio Amnion Sonic Platform are reinstalled in 2025 it will be broadcast again into the Cascadia Basin.

Written and produced by Blood Moon Project Mixed by Heloise Tunstall Behrens  Mastered by Will Worsley at Coda to Coda

Pablo Diserens & ocean comm/uni/ty

September 28 – 30, 2023

Pablo (Rana) Diserens (they/she) is a field recordist, musician, filmmaker, and artist devoted to attentive listening, non-human realities, and possible forms of interspecies coexistence. Rooted in ecological engagement and site-specificity, they investigate gestures of presence through a weaving of sound, images and texts. These bring to the foreground the acoustic, bio- and geological features of explored environments with the intention of fostering earthly connections. Works materialize in various forms that emphasize listening as a radical, political practice, and flirt with a myriad of (sur)realities, found hummings, and ecoacoustic phenomena. Propositions that operate within polymorphic ways of inhabiting and shapeshifting among non-human bodies. In solidarity with a wounded planet, Diserens’ practice invites people to attune to the present in an attempt at rethinking caring strategies and our relationship with the world and its biotic communities.

Pablo has published works with TBA21-Academy, Audio Visuals Astmosphere, Presque Tout, and forms of minutiae, and has been featured in The Wire Magazine, Sound of the Years Awards (2022), A Closer Listen, Bandcamp Best of Field Recordings, and BBC Radio 4’s PM program with Matthew Herbert. They have performed or exhibited their work in Museo Reina Sofia, Madrid; TBA21-Academy’s Ocean-Archive; and in Berlin’s spaces such as MONOM; Morphine Raum; Haus am Kleitspark; Hošek Contemporary; and arkaoda.

Based in Berlin (Germany), Pablo Diserens is also the co-founder/curator of forms of minutiae, a publishing platform for attuning listenings, electroacoustic music, sonic ecology and visual art.



Upstream Ensemble


As part of their digital residency with TBA21’s Ocean-Archive, Pablo Diserens invited members of the ocean comm/uni/ty (and external enthusiasts) to venture in the world and record aqueous sonic encounters. The aim of this collective liquid attuning was to gather sound recordings from various wet ecologies while stimulating listening and field recording gestures regardless of any previous experience.

Recordings from 35 contributors were woven into the long-form sound composition Upstream Ensemble which navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Here, the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones.

In resonance with Pauline Oliveros’ Deep Listening practice and Rachel Carson’s exploration of the intertidal zone in The Edge of the Sea, this project proposes a focus on attentive listening as a way of engaging and existing with the planet’s waters. By stimulating shared listening and attuning practices, Pablo Diserens aims to develop a sense of interconnectedness by blurring the boundaries between species as well as environments. Experiencing aqueous biomes both individually and collectively acts as a way of rethinking our relationships with the world. Despite these being mostly solitary experiences, Pablo believes that field recording and listening are communal and environmental practices that form gateways for earthly synchronicity and world mapping in time and space. Thus listening in turn can become a political act that sparks emotional bonds with the world and its biotic communities.

concept: Pablo Diserens and Fiona Middleton

composition and mixing: Pablo Diserens

with field recording contributions from: Alëna Korolëva, Alexandros Maragkoudakis, Bence Kovács-Vajda, Christopher Dean, Cyane Findji, Damian Pace, Elise Rigot, Eliza Collin, Fiona Middleton, Francesco Previtali, Ilù Seydoux, Irene Mansoldo, Isabel Val, Jakob Köchert, Jean-Baptiste Goeffroy, Joana Moher, Katy Lewis Hood, Kosmas Phan Dinh, Kseniya Lushnikova, Leo Maassen, Ludwig Berger, Mat Eric Hart, Mathias Arrignon, Matty Yeomans, Mélia Roger, Moritz Zeisner, Nikos Sotirelis, Nina Blume, Ocean Networks Canada, Pablo Diserens, Sem Zeeman, Slavek Kwi, Surrealich, Thibault Noirot, Varoujan Cheterian.

Listening with good speakers or headphones is recommended as the piece features a large range of frequencies (notably blue whales’ subsonic calls).

More on Ocean Archive

JD Zazie

October 27 – 29, 2023

JD ZAZIE is an italian DJ, avant-turntablist and sound artist and curator based in Berlin. Coming from a DJ and radiophonic background Zazie has explored different approaches of real-time manipulation on fixed recorded sound sources. Her live and recorded output works to redefine DJ and electroacoustic activities. As a solo performer, in small groups or large ensembles she moves in an area which is constantly stretching the borders of DJ mixing, free improvisation and composed music. Intended as musical instruments CDjs, turntables and mixer are her tools to mix and create the specific sound-sources she plays – being mostly electronic music, electroacoustic music, musique concrète, field recordings and improvised music. The typology of the sound-sources varies from already existing audio publications and sound effects, to self recorded audio files – as drawn from live sets and also fieldrecordings – through to selected pre-mixed material. Juxtaposition, decontextualization, fragmentation, repetition, sonic texture, scratch and error are elements of the grammar adopted to relate, organize and rearrange the sound material.

She is art director of “MuseRuole - women in experimental music” festival”, is a member of the Burp Enterprise collective and broadcasts monthly on Colaboradio and on Reboot.fm.

She has participated in numerous exhibitions and events including SeaNaps festival (DE), Alternativa festival (CZ), Braille Satellite (LT), A L’Arme! festival (DE), Simultan festival (RU), Berlin Atonal (DE), All Ears (NO), Sonic Protest (FR), Heroines of Sound (DE), Reheat festival (AT), High Zero festival (US), Music Unlimited #27 (AT), Tuned City Bruxelles (BE), Open Provocation festival (UK), Festival Rue du Nord (CH), Audiograft 2012 (UK), Echtzeitmusiktage 2010 (DE), STEIM’s Turntable Night #7 (NL), Avantgarde Festival Schiphorst (DE).


Live at Organ Sequences


Recorded live in the Taborkirche by Sacred Realisms’ Bryan Eubanks, Berlin, September 2023. An untitled piece using organ, reference tones for records, field recordings, dust on vinyls and mosquito sounds as sound sources.

jol thoms

November 26 – 28, 2023

jol thoms is the founder of Radio Amnion, a multi-disicplinary artist and planetary researcher interested in comparative cosmology, arts-beyond-the-human, and onto-epistemic justice. He believes that ecological art ‘worthy of the name’ is compassionate, sincere, and strives - in both theory and practice - towards non-violence.

Compassion as a mode of artistic comportment does not fit neatly into many of the worlds of art, neither its spaces, egos, or habits, and the current crises of free and open dialogue about the ongoing Palestininain Nakba only highlight this.

Both sincerity and compassions’ entangled modalities (when they’re not merely performative) are often, though not always, discouraged in both the learning/teaching of art and, even more so, within its institutional echelons. From unpaid and unrecognized labor, through toxic materiality and machismo, to blatant sexism and other forms of exploitation, theft, and discrimination. This is simply due to the fundamental and essentializing hierarchies of ‘high’ arts long relationship to class, profit, and power (political, ecoonomic, cultural) inherent to its entangled monopolies on corporate/state sanctioned brutalities of capital.

In Brianne Cohen’s ‘Don’t Look Away: Art, Nonviolence, and Preventive Publics in Contemporary Europe’ The Force of Nonviolence: An Ethico-political Bind by Judith Butler plays an essential role, outlining a deep and broad aesthetic and cosmological project. Butler writes:

“The task of nonviolence is to find ways of living and acting in the world such that violence is checked or ameliorated, or its direction turned, precisely at moments when it seems to saturate that world and offer no way out. The body can be the vector of that turn, but so too can discourse, collective practices, infrastructures, and institutions.”

Thoms is interested in the significant role ecological arts can have in this necessary socio-structural turn. “Likewise,” writes Cohen, “many contemporary artist-activists are working within this imaginative, speculative line of inquiry, recognizing a constricted ‘aperture of futurity’ for many that should not and need not continue to be ‘just an extrapolation of present-day power’.”

thoms is a settler Canadian, living and working in London, UK, teaching on the MA Art & Ecology at Goldsmiths University.

unidentified mind


Original sound recorded by: Alfred Wegener Institute, Helmholtz Center for Polar and Marine Research

About the recording: recorded by PALAOA, or; PerenniAL Acoustic Observatory in the Antarctic Ocean, the sound cannot be identified by scientists. It is not even possible to tell if the sound originates from animals or if these are abiotic. The acoustic example displays a mysterious low-pitched sound. Scientists verified that this sound was recorded when no ship was present within a radius of 1000 km.

To hear the original recording, please see: Cites and Memory: Polar Sounds and type ‘mind’ into the search bar.

“There exist other kinds of thinking selves beyond the human”. - Eduardo Kohn

One of the instrumental figures in bringing the music of the drone to the West is the Sufi musician Hazrat Inayat Kahn. His musical treatise from the early 20th century, simply titled Music, is an incredible sonic-spiritual composition on the potentials and possibilities of music as law, as cosmology, as harmony. “Music is behind the whole working of the universe”, the Sufi Master wrote, “We live and move and have our being in music”.

In contemplating natures music, in finding ears to hear it, a body to feel and dance it, a mind to celebrate and (re)think it, and -all together- a spirit to create it, I fatefully encountered this incredible ‘unidentified sound #1’ from AWI’s PALAOA observatory in Antarctica during the Cities and Memory project on Polar Sounds. This strange, long, low frequency drone from somewhere in the Antarctic Ocean has an unknown origin. Is it from a creature? From water? From some geological feature? A nearby machine or ship? All that is known about the origin of this sound is that no ship was within a thousand km radius when it was recorded. What we can say for certain is that it is an instance of a subaquatic voicing from the Earth. Expertly recorded and offered for us to resonate with, it opens us to the unknown of the sonosphere.

When I first heard recording 033, I immediately felt that it was already so beautifully strange that it required only very little to elicit its charms. I only wanted to amplify its qualities, saturate its mysteries. Considering it as a vocalization of Earth I simply play along with it, in amity and community. To get there, I put myself into a trance through a listening meditation and recognize the sounder.

I reflect the sound multiply into the eternal of drone. I play back to the sounder an image of itself that is also me.

This track operates as an attentional strategy for rediscovering our selves in more-than-human worlds.

Water, amongst other things, is a specifically acoustic environment. Sound travels faster than light in water, and whale song is thought to produce holographic ‘images’ within the mind of the ancient creatures as they communicate with one another across vast distances. Creatures both aquatic and terrestrial use sound as a form of sight: sonar. If we consider this ‘sonic sight’ in an expanded sense, then when I deeply listen to this sound, I am, in turn, recognized by that which sounds it. In coming to witness one another -over time- we come to recognize each other within each other. In that unspeakable camaraderie between myself and the sounding entity, we meet again: in, of, and as the ‘living thought(s) of the world’ (beyond-the-human).

If you take a look at the wave/sonogram of this composition, you will see an audio Rorschach figure swimming or flying out of the vibration. This has to do partly with the way the structure of the composition was prepared: first playing the original recording backwards (to get to know it better), and then forwards. In that reflection between the polar edges of the Earth and my Farfisa (an electric organ) I acknowledge and celebrate mystery as mystery. I find solace in what is immeasurable, intangible, uncertain.

It is there in the musicality of resonant Earth that the radical plurality and multiplicity of worlds and thought resides and resounds in a relational dynamic that exists beyond experience.

Libita Sibungu

January 25 – 27, 2024

Libita Sibungu lives on the most South westerly peninsula in England and seeks to usher subversive pathways into the present through reimagining materiality, movement and collective healing in relationship to the environment. In 2022 she received both the Paul Hamlyn Foundation and Arts Foundation Future awards. International exhibitions include; Kunsthall Trondheim, Norway (2023); Sonsbeek, Netherlands, (2021); Spike Island, Gasworks, (UK), Cabaret Voltaire, Switzerland, (2019); Kalashnikovv Gallery, Johannesburg (2018); Diaspora Pavilion, 57th Venice Biennale (2017).

For more informatioon on Undercurrents’ many collaborators, please see Bristol Beacons’ webpage for the project.



Libita Sibungu’s new audio work commissioned by the Bristol Beacon saw her co-facilitating workshops with artists Imani Mason Jordan, Kayle Brandon, & Felix Taylor and responding to hydrophone recordings. Developed collaboratively from these workshops Undercurrents, ‘a listening ceremony with water’ conjures and investigates legacies of local waterways with/in African diasporic experiences and Afrofuturism.

Written with water bodies and ancestral memory, Sibungu draws on Dionne Brand’s poem; ‘Ruttier for the Marooned of the Diaspora’ (from her novel; A Map to the Door of No Return: Notes to Belonging, 2001), as a way to compose an imagined journey with an ever emerging water spirit; from primordial waters, to inner ear, to inner city, rooted in African mythology and Afrofuturist transformation, carried intergenerationally within the ongoing rupture of the Translatlantic Slave Trade.

The sonic poem is inspired by a 15th century ‘ruttier’; a long poem and map recited and memorised by sailors at sea to guide them as they navigated. The poet Dionne Brand subverted this ruttier in her poem ‘Ruttier for the Marooned in the Diaspora’ from her 2001 novel ‘A Map to the Door of no Return: Notes to Belonging’. Libita used both the original ruttier and Brand’s poem as context in her workshops to explore pathways of remembering African Diasporic people living in the city of Bristol.

Libita describes the artwork as “not about an end destination, it’s about process and reflection to re-imagine the present, impacted by the ongoing rupture, the afterlives, of the Transatlantic Slave Trade. Whilst making way for the flood, grief and rage that comes with that, for any catharsis to happen.”

Featuring a guided meditation by artist; Maria Christoforidou.
 Sound designed collaboratively with music producer and artist; Felix Taylor.

To encounter the work beyond Radio Amnion’s transmission period, please go to the Undercurrents webpage.

Radio Amnion

May 22 – 24, 2024

Triswara is the brainchild of Dadang Dwi Septiyan, a musician whose lifelong exploration of the art of sound has been distilled into the Triswara project since 2019. Hailing from the musical landscape of Indonesia, particularly the island of Java, Triswara’s musical journey is an expression of Dadang’s eclectic tastes and a reflection of his unique sensory experiences.

Vegetal Negatives by Marja Ahti is a game of sonic mutations, mimicry, inversions, and association inspired by a text called “On pataphotograms”, by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. The opening track, “Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance.

Hulda is written and recorded on a reed organ with two manuals and pedals. The instrument was built by Alfred Cedergren who was a reed organ builder 1870–1925 in Vänge on the island Gotland, Sweden. During this period of time Hulda Veström lived in the same village. When Hulda was 14 years old she left her mother and sisters to travel to her father in Los Angeles. In spring 1912 she boarded the Titanic together with her aunt, who was also named Hulda. There is a picture of the two Huldas in the wooden chapel in Vänge where the Cedergren instruments today are gathered. In 2019 Felicia Sjögren moved to Vänge and the chapel with reed organs became her closest neighbor.

Elena Kakaliagou’s Hydratmos is named after the greek word for vapor; a phase of transition; a state “in between”; a condition of change and transformation. Water into air, basic elements of our life on this globe, allegories for our body, mind and soul. Physically, the basic element of the french horn playing in reverse: condensation.

too low too far شوي كتير بعيد by Dakn is made up of 9 tracks evoking different parts of a body in post trauma. Harmonic textures resonating alongside dissonant layers are disrupted by pulsing fragments of distant rhythms that, at times, feel like they are sounds emanating from within one’s body or perhaps the land…

taupe set xl is the devotional sound project of Kristen Soller, a Miami-based artist and hypnotist of the Philippine diaspora. Kristen illuminates the subterranean and oneiric landscapes of imagination, spirit, and memory — giving voice to the personal and ancestral stories of grief and desire that emerge in the process.

‘Quintela’, the debut album by Carme López, a performer, teacher and researcher of traditional oral music from Galicia, is a new experimental work for Galician bagpipe. Influenced by the approach of composers like Éliane Radigue or Pauline Oliveros, the Spanish composer creates slowly modulating sound environments, and stretches the sonic the possibilities of the bagpipe to its absolute limit. ‘Quintela’ is structured in four movements, plus a prologue and an epilogue, which serve as a link to the contemporary language of the instrument.

The works of Mary Jane Leach explore the physicality of sound, working very carefully with the timbres of instruments, creating combination, difference, and interference tones. Space is also an important concern: how sound changes when it is moved around a room. Barbara Held and Ms. Leach performed Trio for Duo for alto flute and voice.

Keith Fullerton Whitman is a Composer & Performer based in Fort Greene, Brooklyn. Initially active in more trangressive forms of improvised & electronic music, his work over the past two decades has dealt largely in the creation of & delineation of control to algorithmic & generative systems.

The third volume in a Various Artist series Ethnic Minority Music of North Vietnam compiled by Laurent Jeanneau from his continual journeys into the more remote tribal areas of Southeast Asia features field recordings of the Giay, Lu, Red Zao, and Black Hmong peoples of North Vietnam. The selection presented here by the Red Zao is of an unusual vocal style called “Baozoo”.

Tunel Hacia Tí (Tunnel Toward You) is a collection of early compositions by Germán Bringas of Portales, Mexico City. This album features songs from his lost cassette ambient jazz opus, “Caminatas” (Hikes), it’s spiritual successor, “Exposción Al Vacio” (Vacuum Exposure), and unreleased works created between ‘91-‘00. Every instrument heard on this release was played by Bringas, and recorded in a studio in the back of his home.

aqua-sonics collapse distance: limerant mix


A practical magic mix to overcome the tyranny of distance.

“In the back of the throat there is a subterranean river that holds you, humming towards the cave’s end. This end is a liminal mirror reflecting the contours of your voice. The mirror shows how —when brought to certain aquatic depths— unheard of limbs and wondrous branches are prone to sprout from your voice. Blind sibyls, your voice’s branches climb towards the surface, in search of light and warmth. After the great drought, your voice’s limbs persevere. They stand naked, pulsating in the purple that lies underneath grey. Your voice’s limbs erect themselves as monuments to air, kin among the deafening night. The water level is now only tall enough to keep your voice’s core below. Your voice, fed by the swamp, cradled by duckweed, wrapped in horse tail, has become a secret organ. Your voice palpitates and releases twin echoes that undulate, to smoke’s rhythm, in the afterglow. Intricately connected by labyrinth to soil and moon, through the water lilies’ roots, your voice weaves an underweb that flickers like the eye of a flame. Your voice sediments the entwined veils of miracle and prayer.”

  • Marta Núñez Pouzols, October 2023, {from Kirsten Soller’s Bandcamp (aka taupe set xl)}


Artist - Album - Song

Triswara - Transcendent - Outer Space

Marja Ahti - Vegetal Negatives - Coastal Inversion

Felicia Sjögren - Hulda - Blackthorn

Elena Kakaliagou - Hydratmos - One who never saw the sea, but had shells instead of ears

Dakn - too low, too far - my chronic

taupe set xl - swamp prayer - rising from below

Carme López - Quintela - II: MATICOLO. Aos cans da casa: Piri, Sil, Duma e Mouri

Mary Jane Leach - Celestial Fires - Trio for Duo

Keith Fullerton Whitman - Playthroughs - Track3a(2waynice)

V/A - Ethnic Minority Music of North Vietnam - Song from Bin Liu

Germán Bringas - Túnel Hacia Ti - Libre

1. Untitled Pacific2.wav
June 24 – 26, 2021
Libita Sibungu and Perivi Katjavivi
2. Ourano Amnion 2021
July 23 – 25, 2021
Abbas Zahedi
3. Lateral Waters
August 21 – 23, 2021
Margarida Mendes
4. Four Aquatic Mirroring Devices
September 20 – 22, 2021
Samuel Hertz
5. A Voice Becomes a Mirror Plane Becomes a Holohedral Wand
October 19 – 21, 2021
Caitlin Berrigan
6. This is the sea, an ocean away
November 18 – 20, 2021
Andrea Zarza
7. Dark Morph
December 18 – 21, 2021
Dark Morph and TBA21
8. Watery Thoughts
January 16 – 18, 2022
Josèfa Ntjam
9. Plasmática Fantástica
February 15 – 17, 2022
Nicole L’Huillier
10. 600HZ (of protean behaviour)
March 17 – 19, 2022
Tuomas A. Laitinen
11. A Passage
April 15 – 17, 2022
Analisa Teachworth
12. AncestralSpectrum (BloodMoonMix)
May 15 – 17, 2022
12th House
13. To Bridge the Abyss Between Lung and Gill
June 13 – 15, 2022
Diana Policarpo & Odete
14. An Affirmation
July 12 – 14, 2022
Himali Singh Soin & David Soin Tappeser
15. On the Edge, Clouds Passing By
August 11 – 13, 2022
Laure Boer
16. The Blue of Distance
September 09 – 11, 2022
Elori Saxl
17. Reflection in Waves
October 08 – 10, 2022
Colin Malloy
18. High Voltage Waggle Dance
November 07 – 09, 2022
Stef Veldhuis
19. Nocturne: Sonic Migrations
December 07 – 10, 2022
Matt Warren, Sally Ann McIntyre & Dani Kirby with Eliza Burke
20. Fathoming lithium, sediment of pearls 
January 05 – 07, 2023
Anne Bourne
21. Chorion: A Film
February 04 – 06, 2023
Abinadi Meza
22. Blue Ecology for Future Memory
March 06 – 08, 2023
José Alejandro Rivera
23. Steps & Stoppages
April 05 – 07, 2023
Cucina Povera
May 04 – 06, 2023
L. M. Ramsey & Kalas Liebfried
25. Orbit
June 03 – 05, 2023
Blanc Sceol
26. ocean
July 02 – 04, 2023
Antonina Nowacka
27. Tidal
July 31 – 02, 2023
Eve Egoyan
28. Oblique Subduction
August 30 – 01, 2023
Blood Moon Project
29. Upstream Ensemble
September 28 – 30, 2023
Pablo Diserens & ocean comm/uni/ty
30. Live at Organ Sequences
October 27 – 29, 2023
JD Zazie
31. unidentified mind
November 26 – 28, 2023
jol thoms
32. Undercurrents
January 25 – 27, 2024
Libita Sibungu
33. aqua-sonics collapse distance: limerant mix
May 22 – 24, 2024
Radio Amnion
July 20 – 22, 2024
Radio Amnion

Radio Amnion: Sonic Transmissions of Care in Oceanic Space is a multi-year sound art project for the waters of Earth, commissioning and relaying new compositions by contemporary artists more than 2kms deep with/in the Pacific Ocean. During each full moon, far beyond human perception, the abyssal waters of Cascadia Basin resonate with the deep frequencies and voices of invited artists. All transmissions are relayed in the sea through a submerged neutrino telescope experiment’s calibration system and available here online only during the three days of each full moon. Register to be notified for our next transmissions.

The Radio Amnion project is possible due to a collaboration with the ‘P-ONE’ ‘neutrino telescope’ experiment of the SFB1258: Neutrino and Dark Matter Group at the Technical University of Munich. The ‘P-ONE’ telescope is partnered with Ocean Networks Canada: a vast underwater oceanographic observatory monitoring marine ecosystem function, deep-sea biodiversity, and multiple geological dynamics with their 840 km NEPTUNE Observatory in the Pacific north west.

Invocations, blessings & affirmations from Radio Amnion are first and foremost for and to the Ocean, streamed in those remote cyclic depths that irrigate our connected lives and worlds. Artist’s compositions enter and expand these new hybrid spaces where ecology and astronomy intersect, where deep sea and deep space convene, where scientific and cultural cosmologies develop new types of relationships.

Pacific Ocean: Juan de Fuca Plate; Cascadia Basin - 47°N 127°W (-2600m)

P-ONE Telescope

The ‘Pacific Ocean Neutrino Experiment’ is a submerged neutrino telescope initiative led by Prof Elisa Resconi of the Technical University of Munich’s Neutrino and Dark Matter Group SFB1258. Deep underwater the cosmic radiative noise of Earth’s surface is heavily reduced, making it possible to detect more rare and elusive particle interactions within the water itself.

Since neutrinos do not carry a charge, they do not interact with our typical ‘baryonic’ matter. They are completely translucent and have other strange properties that cause physicists to believe in the possibility of a completely other type of physics. To attempt to elicit communications from these hidden cosmic messengers, physicists of the SFB1258 are testing the location of Cascadia Basin for the implementation of a submerged multi-cubic kilometer telescope made up of a vast matrixial array of floating, tethered optical modules. It is from these optical modules that Radio Amnion transmits into the Ocean.

The optical equipment submerged 2.6 kms underwater attempts to view and reconstruct the rare faster-than-light neutrino intra-actions occurring in the elemental waters of Earth. Fluorescing an ultraviolet ‘Cherenkov’ radiation on their encounters with charged hydrogen, it is the water itself that collides with the ghost like phantom particles causing cascades of superluminous particle showers deep within the Earth across hundreds and thousands of metres.

For more information please see the German Science Research News article on P-ONE.

Sonic Platform

The bronze, glass, steel, rubber and electronics sound sculpture—the Radio Amnion Sonic Platform designed by artist Jol Thoms—is one of several hundred glass spheres that make up the aquatic P-ONE telescope. The other glass orbs house optical equipment designed to register and amplify the faster-than-light UV signals caused by rare neutrino particle intra-actions in the sea water. The Sonic Platform was designed to quietly relay spirited messages from artists and researchers directly to the Ocean itself—within the planet—considered as a sentient type of being, a living, knowledgeable creature. A type of reverse Golden Record of the voyager space craft, Radio Amnion seeks responsible communication with the more-than-non-human world.

Using the calibration system of the telescope, and through a process of ‘Fourier transforming’ artists compositions into frequency space, a complimentary selection of spheres also transmit rhythms of light deep into the abyssal body.

The Radio Amnion Sonic Platform was designed to quietly relay spirited messages from artists and researchers directly to the Ocean itself—within the planet—considered as a sentient type of being, a living, knowledgeable creature.

Ocean Networks

The University of Victoria’s (BC) Ocean Networks Canada is a series of marine and oceanographic monitoring and network stations and infrastructures located at various sites across Canada. ONC operate the NEPTUNE Ocean Observatory in the Pacific Ocean that the P-ONE Telescope is also attached to. The NEPTUNE infrastructure is an 840 km loop of powered fibre optic cable with five nodes or stations, including Cascadia Basin where Radio Amnion transmits. Each node is instrumented with a diverse suite of sensors that enable researchers to study interactions across geological, chemical, physical, and biological processes that drive the dynamic earth-ocean system.

For more details on ONC, please see their website.

For information on the interdisciplinary development of Bioregions, please see Bioregionalism on CascadiaNow.


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Please feel free get in touch at radioamnion@gmail.com. You can also follow us on Instagram.


Radio Amnion was initiated by artist and researcher Jol Thoms in 2019, submerged into the Ocean in 2020, and came to operation in June of 2021—all due to a remarkable invitation from Prof. Elisa Resconi of the SFB1258.

Radio Amnion is a partnership with the SFB1258 Neutrino and Dark Matter Group at the Technical University of Munich and in collaboration with Ocean Networks Canada at University of Victoria, British Columbia, CA.

Big thanks to Kilian Holzapfel at SFB1258 for engineering and operations support, and to Petra Riedel and Stefan Schönert at TUM. Thanks to Dwight Owens and Kim Juniper at Ocean Networks Canada.

Thanks to and inspiration from Melody Jue, Astrida Neimanis, Eve Tuck, Karen Barad, Isabel Stengers, Michael Marker, A.N. Whitehead, Stanislaw Lem, & Olaf Stapledon.

Special Thanks to the SFB42 collective at ADBK Munich and to all the artists involved in Radio Amnion.

Radio Amnion acknowledge the support of the Canada Council for the Arts. Nous remercions le Conseil des arts du Canada de son soutien.

This website was designed and developed with Minkyoung Kim and Marie Otsuka (MK+MO). It is a static site, using a beta variable font version of Magmatic by Occupant Fonts and Publico Text Mono by Commercial Type.

All Sound, Text and Images are copyright of Jol Thoms/Radio Amnion and the respective authors.