Christoph Renhart – Music With Moons
“Music With Moons“ is a generative audiovisual written predominantly in the programming language JavaScript. The source code is ‘interpreted’ both technically and artistically: in the artistic sense, interpretation implies a momentum of unpredictability and the uniqueness or non-reproducibility of the work’s presentation. Thus, every performance of my composition is different from every other. The scope is clearly defined by algorithms, the work always remains clearly the same in its form, harmony and gestures, but is constantly illuminated anew through the use of random functions.
“Music With Moons” has four large formal parts that are clearly differentiated from one another both atmospherically and graphically. The second part, for example, features a different kind of harmony based on the division of a pure fifth into four equal parts—a break from the first part, which can be heard relatively clearly in this respect.
Technically speaking, the entire piece consists of self-recorded samples of singing bowls, glasses, ceramic bowls, pot lids, a gong, various wooden sounds and sounds generated with SuperCollider—in other words, instruments played by the computer itself. With the exception of the owl in the last part, the graphics are generated live in the browser. Graphic and sounding objects are interdependent and trigger each other.
chris Sciacca – E-Waste Feedback Loop
A feedback loop is created with two Sony speakers found next to a waste bin as potential Waste Electrical and Electronic Equipment (WEEE). One speaker has been converted into a microphone. Field recordings are played, produced from household-scrap microphones, taken across various industrial waste sites the UK. These sounds are picked up by the converted speaker-microphone and fed back into the system. These “lo-fideltiy” microphone recordings can be heard as the result of “waste listening to waste”. The recordings in turn blend with an ambient layer of feedback mitigated by two Zoom H6 recording devices that sit atop the various sonic WEEE material accumulated and collected by the artist. The works addresses the problematic entanglement of field recording practice with the global waste crisis and the complicit involvement of the artist within it. The sound work is thus in mono as it only plays from one working speaker.
Jesse Austin-Stewart – Music for PlayStation
Music for PlayStation is a collection of musical vibration pieces made to be played back through the PlayStation DualSense controller. This music has been designed so that audiences of all types of hearing, whether hearing, hard of hearing, or d/Deaf, can engage with the music similarly to each other. Feel the way that the rhythms move from left to right and the way the changing patterns feel against your palms. The artist worked with hard of hearing and d/Deaf artists in the development of these musical works.
Music for PlayStation expands upon existing research into haptic audio which predominately use custom interfaces. The use of readily available consumer technology increases the access for audiences and the musical material has also been designed with this in mind, using popular rhythmic devices while playing with the spatiality of the controller.
Mhairi Vari – coloured shapes in motion
The twelve films that constitute ‘coloured shapes in motion’ are played on old, discarded monitors. The films are constructed from layers of activity: the Crossness Engines Trust volunteers working at the old sewage pumping station; Tai Chi masters and teachers performing their art while dressed in hi-vis orange workwear; animated 3D Lidar scans of elements around the site at Crossness.
The silent films play in perpetual loop, the audio for these works becomes that of the soundscape from the immediate environs – the motion can seem to play with and respond to the specificities of the sounds within the installed context.
In the films playful engagement with coincidental moments occurs through the layering of material. Tai Chi form keeps flowing in the radiant figures dressed in kinds of quotidian saffron robes. The voluntary activity at the sewage pumping station draws attention to collectivity of function, reflected in the sewerage system as extension of the human gut, itself formed from an ecology of multiple bacterial types. So the perpetual movement of the films becomes one of ongoing encounter that reflects a shifting fragility of ecologies that exist across scales.
Angus Greenhalgh – Automation in D Minor
Automation in D Minor is a generative sound and moving image installation exploring the automation of labour, emotion, and authorship in the age of artificial intelligence. Five modified CD players, once passive, now obsolete playback devices, are transformed into instruments. Each holds a disc containing 99 fragments of sound and music all composed in D minor, a key historically associated with melancholy and emotion.
The CD players are set to shuffle allowing the musical motifs to flow over and underneath each other creating a never-ending, self-playing musical symphony. Like AI, they recombine pre-existing material endlessly, but feel nothing. The emotion resides in the process or code, not in the player. It is an endless and unpredictable composition without intention where emotion is reduced to function, and authorship is distributed across a system.
Each spinning disc also acts as a phenakistoscope, an early animation device and precursor to the GIF. These discs depict labour roles increasingly subject to automation, the delivery driver, the factory worker and the cogs that have been integral to the inner workings of society as we know it. The animated figures loop without change or progression. A repeating future where human roles and engagement are fading.
This installation mimics the processes of AI, fragmentation, recombination, repetition. The artist steps back, functioning more as a system designer than a traditional composer or animator. What remains is a performance without performers, a simulation of labour, emotion, and creativity.
Automation in D Minor poses an unsettling question: if machines can generate something beautiful, moving, or haunting, is that expression, or just imitation? The system works. The question is: does it feel?
Reid Massey – Meridional Drift
‘Meridional Drift’ is a sculptural multi-channel audio and moving image installation.
‘Meridional Drift’ presents materials taken from a continuing sonic investigation of the Atlantic Ocean; in particular of the Atlantic Meridional Overturning Circulation (or Gulf Stream).
These include field recordings and moving images taken across various locations around and in the Atlantic (including the North American and European coastlines, Gulf of Mexico and Iceland), as well as recordings made utilising the undersea Internet cable infrastructure, radio and electromagnetic field detection, cargo shipping data and historical testimonies of people who have lived with a connection to or dependence on the Atlantic.
An integral aspect of ‘Meridional Drift’ is a unique presentation of these sound and image fragments, developed in tandem with the investigative research material. Audio is diffused within the gallery space using an array of surface transducers, exciting hand-made seaweed bioplastic sculptures. Gallery visitors are also able to experience non-aural audio components of the installation by sitting on a specially designed infrasound bench, capable of reproducing the ~18Hz sounds of cargo vessel engines.
The AMOC currents cross the Atlantic from the Gulf of Mexico towards Europe. it acts as a carrier for layers of audible and inaudible movement; The trans-continental infrastructure of the Internet, floating seaweed blooms larger than countries, rhizomatic shipping networks and surveillance systems flow from the sea bed to the stratosphere.
The Atlantic cannot be defined only as a body of water in this understanding, but also as a sensorial network without fixed jurisdiction, a shipwreck of Internet Utopianism, and as a floating algal landmass symptomatic of intensive agriculture.
These are constituent parts of an ocean very different to our historical – and present – perceptions, instead performing its own borders and histories.
Zeynep Özcan – Resilience in Color: Sonic Portrayals of Women’s Resistance
Resilience in Color: Sonic Portrayals of Women’s Resistance is an artistic sonification project that explores the potential of sonification to amplify social activism. It focuses on women resisting political oppression in five countries: Turkey, Egypt, Argentina, the United States, and India. This work aims to amplify women’s defiance against political repression, translating their visual resistance into an audiovisual demonstration. While the source images depict the struggles of women confronting political oppression, the artistic intent behind the sonification is to celebrate their unwavering spirit and resilience. The sonification avoids any sudden sounds that might evoke a negative response and disrupt the intended texture-carried composition. These interwoven textures create a sense of unified resistance.
Paula Vacarey, Dan Stern and ed Berriman – Making Our Mark Greenwich 2025: Improvisation and Relational Viewership in Installation
Making Our Mark: Greenwich 2025 is a spatialised installation that draws from a transdisciplinary project with primary school children in East London. Developed by multimedia artist ed Berriman, musician Dan Stern, and dancer Paula Vacary, the work brings together projected monotype prints, spatialised sound, and dance to ask two key questions: Can captured improvisational material retain its energy without becoming static? And can viewership itself be approached improvisationally?
The installation builds on three workshops and a performance held in 2023, where children engaged in open-ended processes across image-making, sound, and movement. Each discipline retained its own focus, but was shaped by porous boundaries: dancers responded to projected images; image-makers worked from sound; musicians developed call-and-response and voice-based spatialisation. Shared concepts emerged—‘choreocabulary’, ‘moving the sound’, ‘printing in sound’—that named transdisciplinary improvisations in action. Material from these sessions was documented in film, print, and audio, and shared with the community in booklet and digital form.
This installation reworks those captured fragments not as static artefacts, but as nodes in a live relational field. Through layered projection, spatial sound, and viewer-responsive layout, the installation seeks to maintain improvisation as a mode of becoming.
Here, viewership is not passive reception but participation—another movement within an ongoing play of forces. By holding improvisation as both method and material, the work contributes to wider questions of how documentation, pedagogy, and performance might meet without closing the energies they open.
Pasquale Savignano – Regen
Regen (1929) is a documentary film by Joris Ivens that crosses the boundaries of avant-garde cinema. This work presents a new soundtrack based on archival recordings of the city of Amsterdam. Composing with these sounds and through extensive digital sound processing, the feeling of summer rain was recreated in the form of a lo-fi soundscape. This soundtrack attempts to bond the images in the same way that the rain creates unity across the city. The sudden storm seems to refresh the urban sounds, bringing a new harmony for citizens to live in. No water or rain sound was used in this soundtrack; instead, it constantly shifts between sound design and music, working as a sonic elongation for the video.
Pasquale Savignano is a musician, composer and sound artist currently based in Turin, where he is pursuing a PhD in Sound & Music Computing and Cultural Heritage at the Conservatory of Music Giuseppe Verdi. He studied Electronic Music and Sound Design at the Conservatory of Music G.B. Martini in Bologna and Composition at the Royal Danish Academy of Music in Copenhagen. His research moves mainly between the flux of relationships and interferences in the soundscape, with a focus on acoustic ecology and sound art in public spaces. He works with field recordings, interactive systems and digital sound processing for the creation of soundscape compositions and sound installations, while also collaborating with various artists from the performative and visual arts.
Esteban Agosin – M.A.R (Mineral Acoustic Resonance)
This project revolves around a fundamental question: How can we perceive the inherent intelligence of nature and integrate it into technological systems?
The proposal investigates the use of organic materials in antenna design, focusing on handmade structures that incorporate seawater—rich in electrolytes—as a conductive medium.
The work centers on two key elements, both conceptual and technical in nature. First, the use of seawater as an electrical conductor, leveraging its natural mineral content. Second the sonic exploration of the electromagnetic realm, revealing the interplay between natural and artificial forces through sound.
Together, these components form an entangled system where the natural and the synthetic, the electrical and the acoustic, the organic and the plastic, the sonic and the visual, the fluid and the still, the human and the non-human coexist and interact. This entanglement generates a productive tension—an invitation to reflect on the boundaries between nature and human-made systems.
Ultimately, the project raises a provocative question: Are materials like plastic, concrete, wires, or even technology itself now part of the ecology? By blurring these lines, the work invites new forms of ecological thinking—ones that acknowledge complexity, contradiction, and interdependence.
Esteban Agosin is a Chilean sound and electronic media artist whose work explores the intersection of technology, ecology, and sensory perception. Originally from Valparaíso, Chile, he earned a Ph.D. in Digital Arts and Experimental Media (DXARTS) from the University of Washington in 2024. Currently, he serves as an Assistant Professor of Digital Art and Media at Stony Brook University in New York.
Agosin’s artistic practice encompasses sound and media installations, robotic objects, and technological performances. His work often investigates how technology can provide new perspectives on natural, social, and political environments, aiming to reimagine and speculate about our surroundings. He has exhibited his work internationally, including in Chile, Argentina, Brazil, Colombia, the United States, Spain, Finland, Portugal, and France.