Projects Submitted to the Listening as Practice open call for World Listening Day 2026
Live stream of media:
Additional information about submitted works
ΨΗΧΟΣ - Frost at Boiling Point x In Memoriam
by Lydia Athanasopoulou
from Greece
Project Keywords: field recordings, sound collage, musique concrète, acoustic ecology, soundscapes, sonic stories
"Prolific Birdlife x Frost at Boiling Point" is a sound collage taken from "Nine Lessons in Listening", the latest album by Iceland-based field recordist ΨΗΧΟΣ. [ΨΗΧΟΣ, read PSEE-khos, joining the Greek words for sound (ήχος) and frost (ψύχος).]
The track was composed with field recordings and found sounds from Northeast Iceland and Siglufjörður — one of the world’s northernmost settlements, 40 km from the Arctic Circle. Using sound collage and musique concrète techniques, the result is part sonic fiction, part soundscape — or perhaps a soundtrack to daily life at the edge of the world.
Focusing on textures, granular synthesis, spatiality and ecological storytelling, the composition employs geophysical sound sources from Iceland — its unique landscapes and extraordinary geophony and biophony — alongside industrial clangs and drones, found and accidental sounds. It is an invitation to immersive listening.
Sometimes elusive, sometimes all-enveloping and sometimes wholly unexpected, sound becomes a framework for observing the world, and active, deep listening becomes a tool for better understanding it.
A sonic story emerges from the "sound sculpture", which in turn emerged from the captured soundscapes, sonic events and sonic signatures of this unique and delicate sub-Arctic location — the geothermal mud bubbles and fumaroles at Lake Mývatn, the crashing cascade of Detifoss (Europe's most powerful waterfall), tradition-embodying folk songs, the naturally repetitive rhythms of waves and wind, the delicate nature of snow, the diverse call of birds.
It is the result of a deep fascination with the phenomenon of sound, the sound of nature and the experience of humble listening; a love letter to sound itself and the stories, knowledge and information it carries. Stories of local wisdom, lessons of survival, and information about the future. Listening as an act of soundscape ecology; listening as a way of documenting regional identity; and listening as a tool to conserving both landscape and culture.
Inspired by the acoustic ecology work of Bernie Krause, the soundwalks of Hildegard Westerkamp, the sound sculptures of R. Murray Schafer, and the musique concrète method of composing, it aims to broaden the listener’s acoustic horizon by centering the captivating world of sound. My hope is that actively listening to such delicate environments, like the ones found in the circumpolar regions of our singular planet, will help us understand them, appreciate them and protect them.
Sounds Of Kyambura
by Jonathan Benaiah
from Uganda
Project Keywords: Chimpanzee; Rainforest; Soundscape; Nature; Kyambura; Uganda
Sounds of Kyambura invites you to close your eyes as you are transported for 90 seconds into the dense Kyambura Gorge; an ancient underground tropical rainforest hidden beneath the savannah of western Uganda. Often called the Valley of the Lost Apes, this lush forest is home to a small, isolated community of chimpanzees that has been separated from neighboring forests for generations. As birds call through the canopy, chimpanzees vocalize in the distance, hippos grunt from the river below, and insects weave a constant pulse through the forest, the steep walls of the gorge transform every sound into a reverberant echo. This is the kingdom of the Lost Chimpanzees of Kyambura.
Walking, Lost and Found
by Rachel Buller
from USA
Project Keywords: walking, listening, embodiment, place, attunement
This piece is the story of an eight-day walk. It reflects on the rhythm of walking, getting lost and found, and the strange becoming familiar as we learned to walk in a new way. Made as an 8-channel sound piece, this link is to the stereo mix.
Havens Beach Bacteria
by Viv Corringham
from US
Project Keywords: walking singing listening
A walk on a blissful beach disrupted by a sign
Sonic Pond Dipping
by David de la Haye
from UK
Project Keywords: underwater, freshwater, hydrophone, pond, bioacoustics
Sonic Pond Dipping is an arts-based approach to learning about freshwater ecosystems and acoustic ecology. In the last year I have run about 20 listening workshops across the UK and Europe, inviting people from all backgrounds to explore underwater soundscapes as a way of learning about freshwater and acoustic ecologies.
A chorus of footsteps
by Stijn Dickel
from Belgium
Project Keywords: Collective Listening, Soundwalk, Embodied Listening, Auditory Coexistence, Displaced Sound, Public Space
A Chorus of Footsteps is a participatory listening walk in which people carry and share sounds while moving together through public space.
Using portable loudspeakers, participants listen to displaced sounds: recordings from other places, times and social contexts that temporarily coexist with the environment through which they walk. As the group moves, the sounds mingle with the surrounding soundscape, creating shifting relationships between memory, imagination and place.
The work explores listening not as the reception of sound, but as a shared practice of attention. Periods of silence are integral to the experience. By suspending conversation, participants become more aware of their surroundings, of one another, and of the subtle ways sound shapes our perception of public space.
Rather than isolating listeners within personal audio devices, A Chorus of Footsteps transforms portable sound into a collective experience. Participants become carriers of sound and co-creators of a temporary listening community.
The submitted media presents excerpts from several editions of the project and documents how collective listening can foster new forms of presence, reflection and auditory coexistence.
The Writing Life Podcast
by Caitlin Evans
from United Kingdom
Project Keywords: writing, craft, authors
The Writing Life podcast is the podcast for anyone who writes. Every fortnight, we speak to writers and educators to help you improve your writing, from theme, structure and routine to language, character and writing specific genres.
Coco Loros
by Carmen Fuchs
from DE
Project Keywords: alienation nature mankind birds ecology
Is man separated from nature or not? And how do we all feel about it? How does nature feel about it?
viaggio attraverso il bosco
by Luca Gambirasio
from Italy
Project Keywords: Soundscape, ecomusicology, soundwalk, spoken word, audiovisual installation
Viaggio attraverso al bosco is an audiovisual installation composed of footage recorded in the forests of Santa Luce, Tuscany (Italy) and a sound art piece based on the soundscape of the same area, guided by a narrated, spoken-word voiceover.
The work places the viewer in the role of an anonymous visitor who, after observing the forest from afar for a long time, decides to enter it and walk through it. During the journey, the visitor discovers the profound ecological significance of this uncultivated landscape, where non-human life thrives. For the first time, they experience a sense of interconnectedness and wonder at the forest's biodiversity and socio-ecological complexity, while also witnessing the expansion of anthropocentric development that threatens its delicate balance.
The walk gradually becomes an introspective journey, exploring the relationship between humans and nature through an ecocentric perspective.
20.200 pasos (20.200 steps)
by Andrea González
from Chile
Project Keywords: soundscape, field recording, city, nature, voice, contemplation
A work in which I demonstrate a certain practice I only become aware of some time ago: searching for and documenting natural scenes within the city. Based on that, I conceived a route along the Mapocho River, in Santiago de Chile, recording the sound of its surroundings. The walk lasted 7 hours and covered 12 kilometers, crossing 4 communes of the capital, from Vitacura to Quinta Normal, as well as several parks adjacent to the riverfront.
My plan was to start in the morning and follow the direction of the water, that is, from east to west, reaching the end of the route at sunset. The piece compiles the recorded material and gives an account of the landscape around the river, both the sound of the water, the sound of the streets, the voices, the engines, the horns, and the events of the city.
The River Remembers - Bubbles Rising Empathy
by Elissa Goodrich
from Australia
Project Keywords: soundart, field recording, chamber music, contemporary improvisation, bubbles,
This soundwork, originally composed by Elissa Goodrich for FLOW - a project by Dr Martina Cecchetto, with the scientific contribution of Dr Florian Betz and the artistic curation of Riccardo Fumagalli, in collaboration with Cities & Memory, the University of Padua (Italy), and the University of Würzburg (Germany). Presentation / premiere at EU Annual General Assembly for Geo Sciences, Vienna (AUT), May 3- 8, 2026,
ABOUT the work:
In The River Remembers we enter layers of time and space and history, of presence and attention through listening.
I was struck by a paradox in this segment of the river Lech's story. How at the same time, the river here is both so heavily modified - by channelisation and with a dam for hydropower - and yet, this reservoir also offers a kind of nature 'oasis'. And yet, "Whilst the reservoir also here, is artificial and this place is "devoid of millions of years of minerals...it hosts pristine nature in its present form". I was also struck by the maps and visuals showing the once multiple channels of river - now a straightened single channel river, and the beautiful coloured video realisation.
Taking Flow artist Salma Caller's wonderful suggestion, of incorporating preceding segment sounds, this number 20 sound work requotes and resamples from Bill McKenna's segment 1's offered extract and from Anja Kreysing's segment 19's offered extract, and layers segment 20's field recording and resampled versions with original musical compositions, including Bubbles Variation 1 and 8 - Empathy Rising - from 'Waves and Bubbles' by Elissa Goodrich, 2026, to offer a musical, sonic remembering by the river. The river remembering its geological foundation, its forced changes and its ever-present memory of flow and life. A story of place working across layers of time and sounds simultaneously. Entering these layers and weave of time and space and history through listening.
Credits:
Musicians - Gideon Brazil - saxophones, Elliott Folvig - electric guitar, Miranda Hill - double bass, Elissa Goodrich - compositions and vibraphone.
And so the story of this particular section of the river is a paradox; one that carries beauty and dislocation in equal measure.
Moths Wings Flutters - homewards bound
by Elissa Goodrich
from Australia
Project Keywords: field recording, monarch butterflies, cotemporary jazz, soundart, climate change
Elissa Goodrich – compositions / vibraphone, Gideon Brazil – woodwinds, Elliott Folvig – electric guitar, Miranda Hill – double bass
Composer’s notes:
Composition from the music project - Gene Tree.
Gene Tree began as a conversation between dear friend, scientist and bio-informaticist Dr Anna Syme in 2015, enthusing over how the scientist’s role and the artist’s are not so dissimilar: to be curious, to ask questions, to test hunches, to ask again. A residency at City of Melbourne’s Culture Connect Lab incubated Gene Tree’s ideas and musical sketches.
Inspired by climate science and DNA modelling, these compositions take stories from our genetic maps of adaption, resilience, extinction; the genetic story of the peppered moth and the migratory monarch butterfly; and, musical interpretations of DNA and its patterns, replications, faults, transcriptions into mRNA.
Moths Wings Flutters features the sound of the Monarch Butterflies (moths!) – their beating wings – the delicacy and the strength - the very particular frequencies they sound at, the way in which the remarkable field recording by Christine Renaudat allows us to hear individual beating wings, and the potential to both highlight this and to also create a layering thrum. I read about the Monarchs’ extraordinary migratory journey to ‘rest’ in the central highlands of Mexico over winter. How like so very many migrants, many simply do not make their destination. Many fall in their great compelling movement across continents, or die at their final destination, exhausted. They sacrifice for the greater populations’ need to survive. “With every step, the number of dead or drowsy butterflies resting on the forest floor multiplies. Their wings, thin as parchment paper, are a deep orange with black veins and white spots along the edges.” www.nationalgeographic.com/travel/arti…-migration
I considered how I might create a soundscape for these wings to travel through on their journey to home.gb
Elissa Goodrich – compositions / vibraphone, Gideon Brazil – woodwinds, Elliott Folvig – electric guitar, Miranda Hill – double bass
Recorded live, Pughouse studios, November 20th, 21st 2025
Sound Engineer and Mastering – Niko Schauble
Sound Design – Elissa Goodrich
Field recording – Monarch Butterflies by Christine Renaudat
Producer - Elissa Goodrich
Copyright Control, Elissa Goodrich, 2026.
Om (Caballo de Fuego)
by Eduardo Hernandez Burgos
from México
Project Keywords: Introspection while everything burns
Speculative music to reach ourselves while we listen to our body and emotions. An exercise of inner observation with our eyes closed and present to whatever our flesh, thoughts, memories and feelings have to tell us now.
Skinned The Lake
by Beile Hu
from China
Project Keywords: Lake Michigan, Embodied Listening, Decay and Renewal, Cyclical Temporality
Skinned the Lake is grounded in a durational practice of embodied listening at Chicago’s North Avenue Beach. Through repeated encounters with sand, driftwood, and the shoreline, the work attends to the lake’s rhythms as cyclical processes of arrival and departure. It draws a parallel between aquatic ecologies and human physiology, focusing specifically on the body’s attunement to natural patterns and the regenerative cycle of skin. This somatic research, conducted through hydrophone recordings and sustained observation, is translated into an immersive sensory experience that foregrounds the entanglement between body, material, and environment.
Listening to tidal Bokum
by Michiel Huijsman
from The Netherlands
Project Keywords: More than human, shared listening, remote listening,
A multitude of different bird species forage on the largest mudflats of the Wadden Sea (the Netherlands). At high tide, they all seek refuge in higher areas. This recorded live stream, placed precisely in one of these areas, gives you the chance to hear the gathering of the birds from within. This unedited recording is made at night when the birds are especially vocal. There are also fewer mechanical sounds at night, such as those from ferries, fishing boats, and the nearby military training area. If you listen carefully you will also hear more subtle sounds, coming from small animals living in the mud or at the surface.
"my cup of tea" - listening practice
by Ricardo Huisman
from Netherlands
Project Keywords: sound image installation sounding tea (cups) on stairs
date: 18 juli , time: 12h - 17h , location: Arti et Amicitiae, Rokin 112
1012 LB Amsterdam
Come to Arti et Amicitiae (art and friendship) the oldest artist association in Amsterdam and practice your taste of sounding tea (cups) by listening to sounds of tea (cups) on the stairs of the monumental building; experience “my cup of tea” - multichannel sound image installation. If you have an old spare teacup you can ad it to the installation (including it’s subtle sound) if you want.. while listening to tea sounds. What memories or associations does the sounds of tea (cups) evoke for you? What does it mean: "my cup of tea"? ... who or what appeals to you? ... feeling at home... sounding tea... listening taste ... identity.. (colonial) tea history... are sounds able to leave a bitter taste..? Come and experience, practice (listening) and share your insides if you want. By taking the stairs you also can visit the exhibition “Update II” of new artist members and watch my animation with soundscape “it’s not my cup of tea”. Ricardo Huisman
(stair climber designed by Babara Broekmans)
KLAVIERKLANG
by Rachel Iwaasa
from Canada
Project Keywords: Westerkamp; soundscape; speaking pianist; experimental film; resilience;
KLAVIERKLANG is a cinematic tone poem that follows a young girl in post-war Germany who grows up loving the piano. She takes piano lessons—but instead of freeing the girl to play, the lessons make her frightened of making mistakes. The girl’s ears shut down, making music an uninspiring chore.
Later as a young woman, she travels to central British Columbia, to a ghost town and an abandoned house. There she spots a piano—perfectly ruined, a piano on which no note could be a mistake. She learns to listen again—and the girl and her music are free.
Acclaimed composer/activist Hildegard Westerkamp and renowned pianist Rachel Kiyo Iwaasa combine their personal encounters with the piano to create the story of the girl in KLAVIERKLANG. Interweaving the challenges and wonders of mastering the piano, the girl's journey allows Westerkamp and Iwaasa to explore the liminal space between music and sound.
In a celebration of the piano as an extraordinary instrument, Iwaasa plays both its keys and plucks its strings, as if exploring a sound sculpture. Her non-linear spoken narrative interacts with intricate soundscapes evoking Westerkamp’s childhood in Germany. These are layered and digitally manipulated with Iwaasa’s recorded reflections on the piano, “this creature, this instrument, that you think you know.”
Filmmakers and installation artists Nettie Wild (director) and Michael Brockington (editor) capture this performance, interpreting the composition’s drama with lyrical imagery coloured and shaped by the music itself.
Director: Nettie Wild
Composer/Producer: Hildegard Westerkamp
Pianist/Producer: Rachel Kiyo Iwaasa
Editor: Michael Brockington
Cinematographers: Jeremy Cox & Andriy Lyskov
Sound recordist: Sheldon Zaharko
Sound Mix: John Oliver
First Assistant Camera: Ryan Ermacora
B Camera operator: Jared Boyce
Focus puller: Luke Strahm
Dolly Grips: Tin-Chun Liu & Aleck Campbell
Gaffer: Paula Lara
Colourist: Devan Scott (colourist)
Performance Coach: David Bloom
Oscilloscope Wizard: . Giorgio Magnanensi
Prop Master: SD Holman
Props: Tobias MacFarlane
Stills photographer: SD Holman
Make up/stylist: Madeline Temoin
The Girl: Mila Zinovieff (actor)
The Judges (actors): Jacqueline Leggatt, John Oliver, Rodney Sharman
Production Assistants: Tobias Macfarlane & Scarlett Sparrow-Felix
Production Manager: David C. Jones
Photographic Scans: SD Holman
Additional Cinematography: Mike McKinlay
Stills photographer – Germany: Dagmar Kaffanke-Nunn
Indigogo Campaign Wizard: Rachel Iwaasa
Campaign Videos: David C. Jones
Captions: Line 21 Media Services
In Place of a Hollow Tree
by Eislow Johnson
from USA
Project Keywords: chimney swifts, acoustic ecology, migration, tuning, infrasound
Migrating from the Amazon basin across northern Illinois, a flock of chimney swifts flutter without perching, using a natural form of radar to navigate. The pulse of infrasound from deep ocean waves vibrates the ground and emanates up, guiding the birds amid disrupted air. Open space heard becomes turbulent, resonant space. Various forms of tuning elicit a strained acoustic ecology between altitudes.
Listening Glossary
by Hannah Kemp-Welch
from UK
Project Keywords: book, glossary, listening
Listening Glossary explores the many meanings and practices of listening. Entries range from non-cochlear listening and machine listening to interspecies listening, tracing six decades of sonic thought and experimentation.
It gathers hundreds of terms for listening, contributed by people from diverse disciplines and constituencies, including activists, artists, D/deaf and hard of hearing people, ecologists, educators, musicians, philosophers, psychologists, researchers and sociologists. Their entries take multiple forms, including personal narratives, diagrams, performance scores, theories and poems. The terms invite listening through another’s ears or from specific perspectives, and together, offer a practical guide to listening as a relational practice.
Sonic Habitat
by Akari Komura
from Japan
Project Keywords: text score, Deep Listening, soundwalk, Fluxus
Sonic Habitat is an experimental score project that interlaces text, image, video, and natural found objects as notational mediums. In connection with Event Scores rooted in Fluxus, the project embraces access, playfulness, imagination, and creativity embedded within everyday space. The series of scores challenge to cross disciplinary boundaries and celebrate the sounds and objects in daily environment.
Earphones, connect with yourself
by Kaspar König
from CH
Project Keywords: Spatial listening, acoustic instrument, Sympathetic nervoussystem
EARphones, www.earphones.space, are a novel type of instrument that is played
through your body movements, especially the movement
of your head. They invite you to attentively listen to small
movements and subtle sounds. Although they can get
loud when moved, they are dampened by gravity and
surface resistance. Slow movements can create mysterious
soundscapes that reveal mechanical machines or granular
synthesis – thanks to the ingenuity of EARphones.
No Wi-Fi, no battery, no ads. Just connect with yourself!
Who are EARphones for?
Function:
The EARphones create sounds through your own body
movements that feel spatial. They produce an auditory
illusion (trompe-d`oreille), which seems spatial but is right
at your ear. The ear is presented with a fictional space that
is directly linked to your body movements without latency.
When sitting still, the EARphones calm down on their own
due to the gravitational force acting on the sound
generator, causing it to stop resonating. The design
greatly influences stimulation, resonance time, spatial
effect, as well as volume and wearing comfort.
Analogies to headphones:
• Hearing yourself, creating mindfulness for your
own movements
• A diorama for the ear, where a scene plays out
that you influence
• Sitting still – listening
• A river, where stones are stirred up
• Ocean waves, water droplets, gurgling
• Deep dive
• Noise filter (instead of noise cancellation)
• (Granular) synthesis
EARphones are ideal for people who enjoy ASMR, seek
connection with themselves, practice various types of
yoga, as well as for dancers, musicians, makers, and
generally people who appreciate spatial auditory
experiences. They offer an acoustic massage for the ears,
a challenge of self-control, and are also a fashionable
accessory.
Possible applications:
• As an invitation to listen, move, and experiment
• Direct feedback without latency, battery,
Bluetooth, or Wi-Fi, as the sound changes with
your movement and feels immersive
• A portable soundscape that fakes three-
dimensionality. It's fun to listen to
• Balance and body work in the sense of sound
therapy – the head as the instrument operator
• Psychoacoustic connection to the body,
sensitizing especially to certain frequency ranges
that resonate with the hollow bodies
Movement suggestions:
• Keep your head still until the sound completely
disappears.
• Slowly bend your neck backward.
• Slowly turn your head to the side and feel if you
can find a sound that seems to travel through your
spine or nervous system.
Biebrza National Park Soundscape
by Paul Kwitek
from Poland
Project Keywords: Nature, Field Recording ,Soundscape
A pristine, unedited 2 minute window into the dawn chorus of the Biebrza wetlands one of Europe’s last remaining untouched river valley ecosystems. Captured as a single, continuous take, this field recording documents a vibrant, complex biophony free from anthropogenic noise. It serves as a high resolution archive of an environment facing acoustic extinction.
The Sound of Cicadas on Taiwan's East Coast.
by Yun Li
from Taiwan
Project Keywords: #cicadas, #field recording, #soundscape, #nature, #ambience, #Taiwan.
Recorded during an artist residency in Taitung on Taiwan's east coast, this unedited field recording captures the overwhelming chorus of cicadas on a summer afternoon. No editing, processing, or post-production has been applied, preserving the soundscape as it was experienced in the moment.
For many people in Taiwan, the sound of cicadas is inseparable from the memory of summer. Their calls fill cities, forests, and mountains, becoming a shared seasonal rhythm that shapes everyday listening. More than sixty percent of Taiwan's cicada species are endemic to the island, making this soundscape both culturally familiar and ecologically distinctive.
Rather than documenting a single species, this recording invites listeners to encounter listening as a practice of attending to place. It offers a brief sonic portrait of Taiwan's summer—where ecology, memory, and everyday life converge through sound.
along the nile (nuerland)
by Natalia Ludmila
from Mexico
Project Keywords: Nuer, experimental, field recording.
The process for this piece began with several questions I posed to myself as an artist on the importance and meaning of creative license when working with culturally sensitive material. This piece uses a field recording from the Pitt Rivers Museum Collection* of the Nuer people from what is today South Sudan as raw material. Employing it felt problematic, culturally detached, and even somewhat extractive, especially given how it may have been recorded.
My reservation toward it also stemmed from the fact that I didn't understand the context or what was being sung bout in the recording. My understanding is that the approach to the recording would be inadequate if it relied solely on the nature and characteristics of sound.
I deep-listened to the recording copiously, letting it inform my response as much as possible. And it was the rhythm (a drum from the original recording) that stayed with me. The more I listened to the original recording, the more I became aware of wanting to sonically imagine the vast Nile savannah that the Nuer walked, and through which they shepherded their cattle.
In the final piece, I used parts of the original recording, intentionally omitting the ones that would be most obvious to use and, for me, the most problematic, like the Nuer singing. Deciding on a jaunty piano featured at the end of the original track, which was perhaps used to mark the ending of the field recording, as well as several hiss noises caused by the tape recorder. For me, these sounds mark and highlight, for one, the recorder's unneutral presence on site, and the charged act of recording for keeps, study and categorisation. And thus raises the question of the material's sensitivity and the unbalanced interaction between the recorder and the recorded.
For me, the final piece is inspired by the Nuer singing on the original recording, whilst preserving their sonic heritage intact.
*Original recording from the Pitt Rivers Museum Collection. In tandem with Cities and Memory for the A Century of Sound project
Ahuexote
by Jorge Martínez Valderrama
from Mexico
Project Keywords: Soundscape, Xochimilco, Acousmatic, Water, Memory
Ahuexote is an acousmatic work that explores the sounds of the waterways of Xochimilco (Mexico), the oar of the trajinera, the breathing of the tree, and the heartbeat of the ecosystem. In the still mirror of its waters, an ancestral pulse beats in Xochimilco: its canals are the arteries of this land, where axolotls murmur and the liquid, silent memory of flowers is preserved.
The soundscape is disassembled into distinct acoustic components, each projecting its own timbral and temporal trajectory. Like the ahuexote, a sacred tree of the Nahua people and a natural inhabitant of water bodies, the work unfolds sonic dimensions that evoke its spiritual anatomy and, also, its territorial resonance:
— The tree that hears and mutates water, — the one that walks with its arm like an oar, — the one that breathes downwind, — and the filigree of birds upwind.
The work was created through various spectral processes, dismantling the soundscape into timbral, tonal, and noise components. Each of these elements has been altered in time, pitch, and dynamic spatiality, coexisting with re-synthesized and transfigured sounds, gradually transforming a natural landscape into an unexpected new one.
Listening is transmuted into corporeal experience, and corporality into aquatic sowing. Ahuexote embodies the vibratory memory of the landscape and invites us to inhabit it: an amphibious, vegetal, and living vibration.
Seiders Springs, Austin, Texas June 21, 2026
by Christopher McConnell
from United States
Project Keywords: Postcolonial, water, Texas, urban, limestone
Seiders Springs is a natural spring in central Austin, Texas. It is named for a white settler family who built a tourist destination at the springs in the 19th century. A Seiders descendant, Ryan Seiders, recently made news for allowing his West Texas land to be used as a staging area for construction of the border wall between the United States and Mexico. This recording captures the sound of the spring, as well as traffic from a nearby roadway.
Morning Sounds Excerpts
by E Millar
from Australia
Project Keywords: texture, repetition, place
Morning Sounds Excerpts is a long-form audio piece that combines textural machine sounds with nature sounds and the human voice. The sounds were recorded in the artist’s work place and a neighbourhood park. The work focuses on our relationship to environment in the mundane setting of urban landscapes. It examines how we classify these environments, often forming opinions about how the spaces, sounds, and sights may be ‘natural’ or ‘artificial,’ ‘imposed’ or ‘belonging.’ In bringing our attention to these places and the ways we experience them, the purpose is not to discover a static truth, but rather to elicit a different type of awareness in the one who pays attention. We are asked to consider our awareness of place and belonging in our day-to-day lives.
Stay open - All One
by Soundi Mozard
from Sweden
Project Keywords: Wonders slow light portals night flyers
Recorded at Mannaminne Häggvik Nordingrå, midsummer midnight in june. In this short snippet audiovideo, a fieldrecorded soundscape is presented in layers and with differencing speed and color.
An invitation to a listening meditation, lift of all judgement to connect, feel: belonging, wonder and keep dreaming to stay open, change is possible, celebrate life and enter the portal of midsummerlight. Be light. And total. Present. Accepting. How deep can you listen? Can you listen with all your senses? How many senses can you experience at once? All 20? All one?
Momentum it has become stilled
by Ira Oznobikhina
from Russia
Project Keywords: Field Recordings, Sonic Journalism, Acoustic Atmosphere
This summer I found a wounded little bird in the woods, so I took her home thinking that if there's a chance that she could fly again I would do anything. This recording I made the morning she died and I gave her to the ground. Still, I haven't come up with a name for her.
Sonic meditation
by Denise Pakes
from Netherlands
Project Keywords: deep listening acousmatic electroacoustic
The creation of my sonic meditation piece is an immersive process, an auditory experience to guide listeners by fostering introspection.
Poemes Electroniques #7 - Resonant Body
by Denise Pakes
from The Netherlands
Project Keywords: Deep listening, Poèmes Électroniques, spoken word
Poèmes Électroniques is an ongoing series of electroacoustic compositions, spoken word, and audiovisual works by Nies. Each piece functions as a poetic investigation into the relationships between listening, memory, architecture, movement, and perception. Rather than composing songs, the series constructs experiential score, spaces in which sound, language, and image shape one another.
Drawing from experimental electronic music, field recording, voice, and minimal poetic texts, Poèmes Électroniques explores how invisible phenomena—resonance, time, silence, and presence, can be experienced through attentive listening. Every work forms an individual chapter while contributing to a broader artistic research into sound as a spatial and embodied medium.
At the heart of the series lies the idea that listening is not passive. It is an active process through which environments, technologies, and bodies continuously influence one another. The electronic poem becomes a score for perception: an invitation to inhabit space differently.
Poèmes Électroniques #7 – Resonant Body
Resonant Body explores the moment in which listening ceases to be an individual act and becomes a shared spatial condition. The work considers resonance not simply as an acoustic phenomenon, but as a way bodies, spaces, and social interactions continually shape one another.
Through spoken word, layered electroacoustic textures, and immersive visual composition, the work suggests that space is not fixed but activated by presence. Movement no longer serves to orient the listener; instead, the listener becomes part of the composition itself. Sound responds to bodies in space, allowing perception, coincidence, and collective behaviour to generate form.
"the listener becomes the resonant body, the score responds to their presence, allowing social behavior to write form"
the work proposes that meaning is created not only by what is heard, but by where and how listening takes place. Resonance becomes a living exchange between architecture, technology, environment, and human experience.
As the seventh chapter in the Poèmes Électroniques series, Resonant Body continues the exploration of electronic media as a poetic practice; where sound & language dissolve the boundaries between listener and space.
Marsaxlokk [sound] market
by Nenad Pinter
from Serbia
Project Keywords: open market, sonic anthropology, urban soundscape, community sound
This recording captures a fragment of the Marsaxlokk open market as a living acoustic theater, a meeting point of commerce, migration, tourism, language, and the sea. Along a narrow waterfront street, local vendors meet a constant flow of visitors arriving from different parts of the world. Maltese voices blend with languages from across continents, creating a dense and shifting sonic experience.
A distinctive layer of this soundscape comes from the sea itself. Waves break gently against the shore just meters away from the market, merging with conversations, footsteps, negotiations, and the everyday rhythms of trade.
Places like this offer an experience of commerce that stands in sharp contrast to the sterile, artificial atmosphere of contemporary shopping malls. Everything here is alive, playful, theatrical, and performative. The scenery changes constantly, shaped by the people, the weather, the goods on display, and the unpredictable interactions between strangers. From the moment you enter, you become part of the market's unfolding theater.
There are no carefully controlled brand environments, no scripted customer experiences, and no sensory isolation. Instead, everything can be touched, smelled, heard, seen, and felt. The senses are fully engaged. There are no artificial fragrances, no background music designed to manipulate mood, and no rehearsed smiles.
The open market remains a space of freedom, an environment entrusted to human presence and perception. Every stall becomes a small stage, and every vendor its compelling performer.
Recorded in March 2026.
Eclipse
by Jonas Quirin
from United States
Project Keywords: Ambient, Poetic, New-Age, Spoken-Word, Abstract
Eclipse is a piece of music I made for an upcoming body of work called "Spirit Realm." This song blends together ambient music and spoken-word poetry to portray the viewing of a total solar eclipse from 2024. Ambient music has always been a form of story telling for me and with this project I have attempted to go deeper into these stories with the inclusion of these poems. These works are a collaboration between myself writing the music and Poet Paige Adams who wrote the words based on prompts and experiences I shared with her. My hope is to expand on the ambient music genre and offer something new and beautiful.
The Earth´s Shout Sound Map
by Colectivo Refluxus
from Brazil, Italia, Israel
Project Keywords: landscape, sound map, colaborative work, listening, acoustic ecology
We are the ReFluxus Collective, an international eco-feminist sound art collective formed by three women from different territories and generations.
This map is a collaborative and open work intended to create a space to listen to Earth’s shouts: soundscapes, stories, screams, and cries. These represent site-specific struggles for life on Earth—by humans and non-humans alike—that together create the choir of the planet.
The collaborative work conceived by the Refluxus Collective was inaugurated within the program of the second edition of the Chicharra Nomadic Listening Festival, held in the Maya region, Mexico.
Through an international call for submissions, we received more than forty works of shouts, located on 5 continents: Africa, America, Europe, Oceania, and Asia. The work is open indefinitely for contributions.
The map, hosted on a website, accepts audio files with a permanent SoundCloud link, accessed via the coordinates where the artwork was created. Clicking on the links opens a window with a photo, description of the artwork, and the artist's bio.
It also features a Radio button that plays the artworks in random order.
Sound artists can freely place their pieces on the Map as long as they respect the call for submissions instructions.
The forest holds its breath
by Eliane Ronzón
from México
Project Keywords: Cloud Forest, Data Sonification, Fog, Perception
The Forest Holds Its Breath is a sound artwork derived from the ongoing research-creation project “Ways of Listening to the Fog”, centered on listening practices within the Cloud Forest of Veracruz, Mexico.
The Cloud Forest is one of Mexico’s most biodiverse ecosystems, home to numerous endemic species whose existence is due to the presence of fog. Beyond its ecological significance, fog is also embedded in the social and cultural life of the territory: it shapes everyday experiences, sustains coffee cultivation, and inhabits collective memories, affections, and the identity of its communities.
For this piece, I approach fog as a vital process that transforms perception and listening. It combines original field recordings from different areas of the Cloud Forest, where my community is located, with time-lapse recordings of the fog and its changes, translated into sound through data sonification processes.
The Forest Holds Its Breath explores a sonic encounter with the arrival of fog and its dynamics, where listening as an embodied experience is transformed and time becomes suspended, allowing new relationships with territory and its imaginaries to emerge.
Submerged Sound Worlds
by Cha Rosario
from United Kingdom
Project Keywords: underwater listening, marine soundscapes, acoustic ecology, interactive sound, ocean noise, marine conservation
Download Submerged Sound Worlds and take a few minutes to listen below the surface.
Submerged Sound Worlds is a free desktop application for Windows and macOS. It invites you to hear the underwater world from the perspective of marine mammals.
Underwater, SOUND is the language of life. Many marine animals depend on sound to communicate, find food, move around, and stay safe. But noise from boats and other machines is changing this world, making it harder for them to hear and be heard.
In the app, you can listen to underwater recordings, bottlenose dolphin sounds, and different vessel sounds. You can listen to one sound at a time, or layer them together and hear how they shift, blend, and sometimes overwhelm one another.
On World Listening Day, Submerged Sound Worlds asks you to pause, put on headphones, and spend time with a world we do not usually get to hear.
Earth: Listening To - Attunement Practice
by Wen Lin Tan
from Singapore (Born) / Italy (resident)
Project Keywords: embodied listening, more-than-human, ecology, attunement, transcorporeal listening
Explore a somatic practice for the level of Earth: attuning to yourself through gentle movement and your breath. I will guide you to tune the instrument of your body using the visualisation of a cellist tuning their cello, starting with stillness in silence, then moving into gentle micromovements, tuning to sound, and finally with an invitation to stay in stillness or expand into freeform movement along to Illuminated by the Sun, an original cello piece by Auri Foda. This practice is open to everyone, whether you are a seasoned musician, occasionally play music, or have never played an instrument before. This comes from the course, The Power Of The Creative Cycle II: Attuning To The More Than Human World.
SARDA Training Day
by Sean Taylor
from Ireland
Project Keywords: Soundscape, field recording, acousmatic,
Search and Rescue Dogs Ireland (SARDA) is a charitable voluntary mountain rescue organisation responsible for the training and deployment of search and rescue dogs to search for and find vulnerable missing persons that get lost every year. SARDA dog teams consisting of the handler and their dog, search anywhere in Ireland in mountains, woodlands, rural and urban areas, waterways, and seashore, as well as in locating accident or disaster victims. I volunteer with SARDA Ireland as a dogsbody to assist in the training of SARDA dogs and their handlers. This 6 minute and 32 seconds acousmatic composition was recorded during a SARDA training day in the Knockmealdown Mountains in County Tipperary, Ireland in June 2026. The work is an audio snapshot of a typical training day for the dogs , their handlers and the dogsbodies who lie out on the mountain waiting to be found.
in the wake of the santa maria
by Colin Tucker
from Canada
Project Keywords: sound installation, global warming, imperialism, history
This piece situates present-day fossil-fuel-burning infrastructures within imperial geographies of global warming, and positions these geographies within long histories of imperialism and enslavement. Entitled in the wake of the Santa Maria, in reference to one of the ships sailed by Christopher Columbus in 1492, the piece maps global warming decolonially through a sonic-linguistic intervention. The work places found, edited audio of ocean waves—purportedly recorded on a Caribbean beach—within earshot of fossil-fuel-burning infrastructures in the imperial core, such as roads, factories, and power plants. Notated as a textual score, the piece may be realized as an installation, with audio played through speakers placed in proximity to these infrastructures. The piece may also be realized as a video, with the audio layered over found footage of fossil-fuel-burning infrastructures.
Imbros.tone-02
by Alp Tuğan
from Türkiye
Project Keywords: soundscape, ambient, acousmatic,
Alp Tuğan’s composition on Gökçeada shifts listening into a mode of inquiry and aesthetic encounter. The visitor moves through a layered sound field: wind tracing the shore, waves shaping rock, insects weaving rhythm, and the subtle residue of human presence. In a culture dominated by visual memory, the work turns attention toward the neglected domain of hearing, making the unseen audible.
Biophony, geophony, and anthropophony serve both as classification and dramaturgy. Surface and vibration recordings, captured with a piezo contact microphone designed by the artist, reveal hidden agents of matter. Raw sounds, archived and treated, evolve into a living map of the island’s acoustic ecology. Soundscape recordings gathered with a portable audio device extend this archive. The composition moves beyond documentation, opening ground for reflection on coexistence, spatial belonging, and shared memory. It calls the listener to rediscover their auditory threshold and enter an active relation with the soundscape of Gökçeada.
Synco Synthesis
by Sadie Woods
from United States of America
Project Keywords: aural transmission art
Synco Synthesis is an aural soundscape by Sadie Woods that centers sound as living ecology and listening as a social and environmental practice. The composition positions the American bison as a central figure within prairie ecosystems, inviting audiences to consider how sound shapes our understanding of both natural and urban environments.
Layered and immersive, the work draws from prairie archives—including plant biofeedback, soil resonance, fungal wave data, and the human body translated into sound. Through active listening, audiences are invited to attune to the original intelligence of land, people, animals, plant systems, and the underground networks that sustain life. Together and severally, these interconnected frequencies become a form of memory mapping, revealing the living relationships that persist beneath the surface of place.