Shanghai native 33EMYBW (Wu Shanmin) has been an active member in the Chinese music scene for over a decade. She has also performed at CTM and Sinotronics in Germany, China Drifting Festival in Switzerland, and SXSW. Her 2018 album Golem, released on SVBKVLT, was met with critical acclaim and voted one of the best electronic albums of 2018 by Bandcamp. In 2019 she released DONG2 EP under Merrie Records Beijing, and will premiere her sophomore album Arthropods (SVBKVLT) at Unsound 2019.
Aasma Tulika is an artist based in Delhi. Her practice locates technological infrastructures as sites to unpack how power embeds, affects, and moves narrative making processes. Her work engages with moments that disturb belief systems through assemblages of video, zines, interactive text, writings and sound. Aasma was a fellow at the Home Workspace Program 2019-20, Ashkal Alwan, her work has appeared in Restricted Fixations, Abr_circle, Khoj Art+Science program, HH Art Space. She is a member of the collective -out-of-line-, and collaboratively maintains a home server hosting an internet radio station. She is currently teaching at Ambedkar University Delhi.
A Hanley is an artist currently living on Wurundjeri Country in Melbourne, Australia. Their practice uses sound and media to explore relations among queer ecologies, attunement, situatedness, and speculative practices. Engaging forms of performance, installation, and collaboration, Hanley's work is interested in audition as an affective practice and the possibilities of sound and technology to support and alter the sonic expressions of humans and non-humans.
Aisyah Aaqil Sumito is an artist and writer living near Derbarl Yerrigan on Whadjuk Noongar Bibbulmun lands. Their work reflects mostly on personal intersections of disability, queerness and diasporic ancestry in so-called 'australia'. They have recently made text-based contributions to Runway Journal and HERE&NOW20: Perfectly Queer, Lawrence Wilson Art Gallery.
Alessandro Bosetti is an Italian composer, performer and sound artist, currently based in Marseille. His work delves into the musicality of spoken language, utilising misunderstandings, translations and interviews as compositional tools. His works for voice and electronics blur the line between electro-acoustic composition, aural writing and performance.
Alexander Garsden is a Melbourne-based composer, guitarist and electroacoustic musician, working across multiple exploratory musical disciplines. Recent work includes commissions from the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, Speak Percussion, Michael Kieran Harvey and Eugene Ughetti; alongside performances with artists including Tetuzi Akiyama (Japan), Oren Ambarchi, Radu Malfatti (Austria), Julia Reidy, David Stackenäs (Sweden), and with Erkki Veltheim and Rohan Drape. From 2014 to 2019 Garsden was Co-Director of the INLAND Concert Series. He has taught through RMIT University and the University of Melbourne.
Alexander Powers is a choreographer, performer and DJ from Naarm. In 2019 they premiered their first full length choreographic work Time Loop at the Melbourne Fringe Festival, receiving the Temperance Hall Award at the Fringe Awards. Under the moniker Female Wizard, they are known internationally for their forward-thinking DJ sets. They’ve performed at Golden Plains, Dark Mofo, Boiler Room, Hybrid Festival and Soft Centre and held a four year residency at Le Fag.
Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions. Alex has presented her art and music in Australia, Asia, Europe, and North America including BBC Radio; Ausland, Berlin; Café Oto, London; EMS, Stockholm; Punkt Festival, Kristiansand; Standards Studio, Milan; AB Salon, Brussels; Radiophrenia, Glasgow; Museo Reina Sofia, Madrid; Sound Forms Festival, Hong Kong; MONO, Brisbane; The Substation, Melbourne; Soft Centre, and Liveworks Festival, Sydney.
Allanah Stewart is an artist from Aotearoa/New Zealand, currently living in Melbourne, Australia. As well as her work in various experimental music projects, she is the presenter of a monthly podcast radio programme called Enquiring Minds, hosted by Noods radio, which explores old and new, lesser known and well known sounds that loosely fit under the banner of experimental music.
Allison Gibbs is an artist living and working on Djaara Country/Maldon, Victoria. She is currently a PhD candidate at Monash University Art, Design and Architecture (MADA).
Mouth Making an Orifice has been adapted for OOO/LA from a part of Allison’s doctoral research (Orificing as Method).
Amanda Stewart is a poet, author, and vocal artist. She has created a diverse range of publications, performances, film and radio productions in Australia, Europe, Japan, and the USA, working in literature, new music, broadcasting, theatre, dance, and new media environments. Amanda collaborated with Chris Mann for many years in the Australian ensemble, Machine For Making Sense (with Jim Denley, Rik Rue, and Stevie Wishart), as well as in other contexts. Her poem ‘ta’ was written in honour of Chris Mann’s extraordinary vision and work.
Anabelle Lacroix is a French-Australian curator, writer and radio contributor. Working independently in Paris, she is based at Fondation Fiminco for a year-long residency focused on the politics of sleeplessness (2020). She has a broad practice, and a current interest in experimental practice, working with performance, sound, discourse and publishing. She is a PhD candidate at UNSW Art & Design.
Ander Rennick is a graphic artist based in Melbourne interested in the fetishisation of editorial, pedagogical, pornographic and mimetic commodities.
Andrew Brooks is an artist, writer, and teacher who lives on unceded Wangal land. He is a lecturer in media cultures at UNSW, one half of the critical art collective Snack Syndicate, and a member of the Rosa Press Collective. Homework, a book of essays co-written with Astrid Lorange, was recently published by Discipline.
Andrew Fedorovitch is compos mentis. Andrew Fedorovitch embodies professionalism in every aspect of his life, including music.
André Dao is a writer, editor, researcher, and artist. His debut novel, Anam, won the 2021 Victorian Premier’s Literary Award for an Unpublished Manuscript. He is also the co-founder of Behind the Wire, an oral history project documenting people’s experience of immigration detention and a producer of the Walkley-award winning podcast, The Messenger. He is a member of the Manus Recording Project Collective.
Angela Goh is a dancer and choreographer. Her work poses possibilities for disruption and transformation inside the aesthetics and conditions of technocapitalism, planetarity, and the post-anthropocene. She lives and works in Sydney, and has toured her work across Australia, Europe, the UK, the USA and Asia. She received the 2020 Keir Choreographic Award and the inaugural Sydney Dance Company Beyond the Studio Fellowship 2020-21.
Anna Annicchiarico has a bachelor's degree in Hindi language and literature and she specialised in anthropology at Ca’ Foscari University of Venice. For her studies, she focused on the effects of orientalism in post-colonial imageries, especially on migrants in Italy, analysing religious places, and their meaning for different generations. In recent years, she has been increasingly involved in contemporary art and performance.
Anna Liebzeit composes for collaborations across installation, theatre, and film. Recent compositions include the feature film The Survival of Kindness (Rolf de Heer 2022), Sleeplessness Carriageworks (Karen Therese 2022), The Darkness of Enlightenment Samstag Museum of Art (James Tylor 2021), kipli pawuta lumi MONA FOMA (2020), and SHIT and LOVE by Dee and Cornelius (45 Downstairs, Venice Biennale 2019, and feature film SHIT 2021). Anna has made music for various NAIDOC events and has had work shown at various venues nationally.
Her solo practice investigates erasure and becoming inscribed, as a personal and broader (Australian) cultural phenomenon. Her research is linked to the lived experience of Stolen Generations and relationality by drawing on Susan Dion’s educative provocation to complicate empathy when engaging with First Nations peoples. Anna has been an educator in Aboriginal and Torres Strait Islander health and education for over twenty years and is an award-winning curriculum writer. In 2021 she received the Creative Victoria Creators Fund grant to research the intersections of her teaching and creative methodologies.
Anne Zeitz is associate professor at University Rennes 2. Her research focuses on aural attention, the inaudible, the unheard, and the polyphony in contemporary art. She directed the research project 'Sound Unheard' and she co-organised the eponymous exhibition at the Goethe-Institut Paris, Paris and exhibition 'Échos magnétiques” at the MBA Rennes, Rennes in 2019.
Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art, Melbourne.
Arben Dzika is an artist whose practice involves working with various media including, but not limited to: sound, image, word, and performance. His work primarily seeks to reflect on, interrogate, and play with technologies, systems, and human senses. Within his practice, he works as a producer and DJ under the moniker, Dilae.
Archie Barry is an interdisciplinary visual artist working with a trans politics of quietude. Their practice is autobiographical, somatic, and process-led, and spans performance, video, music production, and writing. Cultivating a genealogy of personas, they produce self-portraiture that brings to question dominant notions of personhood and representation.
Arlie Alizzi is a Yugambeh writer living between Yawuru Country (Broome) and Wurundjeri Country (Melbourne). He is an editor, writer and researcher. He was an editor for Un Magazine with Neika Lehman in 2018, and co-edited a special issue of Archer Magazine in 2020. He was a writer-in-residence for MPavilion in 2019, and is interested in articulations of place in writing about urban areas.
Audrey Schmidt is a writer and editor based in Melbourne, Australia. She is a regular contributor to Memo Review, co-editor the third issue of Dissect Journal, and has written for various publications including Art Monthly, Art + Australia and un Magazine. She co-founded Minority Report with Adam Hammad in 2018 and released one online issue that was available until the domain expired in 2019. Audrey sits on the FYTA (GR) Board of Advisors.
Austin Benjamin, known for his stage name Utility, is a Sydney-based music producer, artist & founder of the label Trackwork. He’s released projects through Room 40, Sumac, HellosQuare, and produced music for releases on labels including Universal NZ, AVTV, Warner & 66 Records. In 2019 Utility & close collaborator T. Morimoto released Nexus Destiny featuring a collection of 60 arpeggios made entirely with software synthesisers, released on Melbourne-based label Sumac.
Earlier this year Utility performed alongside T Breezy, Walkerboy, Sevy & Bayang at Sydney Opera House’s Barrbuwari event. Austin has previously composed and performed new works for the Museum of Contemporary Art, Sydney, and University of Queensland Art Museum with T. Morimoto, and MONA FOMA Tasmania with turntablist Martin Ng and has exhibited audio-visual gallery works including ‘Strategic Innovation’ with Coen Young at Kronenberg Wright, Sydney.
Autumn Royal is a poet, researcher, and educator based in Narrm/Melbourne. Autumn’s current research examines elegiac expression in contemporary poetry. Autumn is the interviews editor for Cordite Poetry Review, and author of the poetry collections She Woke & Rose (Cordite Books, 2016) and Liquidation (Incendium Radical Library, 2019).
Beau Lai (formerly Lilly) is an artist and writer currently based in Paris, France. Beau spent their formative years working intensively within the contemporary arts industry on Darug and Gadigal land in so-called 'Australia'. They are most well known for self-publishing their essay and work of institutional critique, 'Working at the Museum of Contemporary Art Australia. It does not exist in a vacuum', in 2020.
Behrouz Boochani is a Kurdish-Iranian writer, journalist, scholar, cultural advocate and filmmaker. He was writer for the Kurdish language magazine Werya. He writes regularly for The Guardian and several other publications. Boochani is also co-director (with Arash Kamali Sarvestani) of the 2017 feature-length film Chauka, Please Tell Us the Time, and author of No Friend but the Mountains: Writing from Manus Prison. He was held on Manus Island from 2013 until 2019.
Ben Raynor is an artist, living in Melbourne.
Bianca Winataputri is a Melbourne-based independent curator and writer researching contemporary practice in Southeast Asia, and relationships between individuals and collectives in relation to history, globalisation, identity and community building. Currently working at Regional Arts Victoria, Bianca was previously Assistant Curator of Contemporary Art at the NGA. She holds a BA (University of Melbourne), and BA Honours from the ANU where she received the Janet Wilkie Prize for Art. In 2018 Bianca was selected for 4A Centre for Contemporary Asian Art’s Curators’ Intensive.
Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. Guided by situated and collaborative methodologies, he develops and presents artistic projects and performances within a range of international contexts, mostly working in public and with others. This leads to performative installations, poetic theater, storytelling, and research actions aimed at forms of experimental community making, as well as extra-institutional initiatives, including The Listening Biennial and Academy (2021-ongoing). From gestures of intimacy and listening to critical festivity and experimental pedagogy, his practice aligns itself with a politics and poetics of radical hospitality.
Brian Hioe was one of the founding editors of New Bloom, an online magazine covering activism and youth politics in Taiwan and the Asia Pacific, founded in 2014 in the wake of the Sunflower Movement. Hioe is a freelance writer on social movements and politics, as well as an occasional translator.
Bridget Chappell is a raver and theory bro currently living on the unceded nations of the Latji Latji and Nyeri Nyeri people. They make music as Hextape and organise parties in drains, observatories, and other natural amphitheatres. They founded and run Sound School, work with young musicians behind bars, and make experimental sound technologies to challenge police sirens.
Bryan Phillips A.K.A. Galambo is a Chilean/Australian artist working in community arts, music and performance, using sound as a means to facilitate engagement with others. His practice has mainly been developed in Chile, but after completing his Masters in Community Cultural Development (VCA-2013) he has become involved in projects with artists from Timor-Leste, Indonesia and Australia.
Camila Marambio is a private investigator, amateur dancer, permaculture enthusiast, and sporadic writer, but first and foremost, she is a curator and the founder/director of Ensayos, a nomadic interdisciplinary research program in Tierra del Fuego.
Candice Hopkins is a curator, writer and researcher interested in history, art and indigeneity, and their intersections. Originally from Whitehorse, Yukon Territory, Hopkins is a citizen of Carcross/Tagish First Nation. She was senior curator for the 2019 Toronto Biennial of Art, and worked on the curatorial teams for the Canadian Pavilion at the 58th Venice Biennale, and documenta 14.
Casey (Nicholls-Bull) Jones is the assistant editor for Liquid Architecture's Disclaimer.
She is also an artist who utilises embodied knowledge, plant and herbal study, research, and deep listening as the backbones of her practice. Through unhurried and repetitive processes such as pyrographic wood burning techniques, oil painting, and the observation of and connection to natural cycles and materials, Jones uses these methods to rearrange, layer, peel back, and continually connect to knowledges, memories and histories that are personally felt, encountered, and observed around her. Jones uses the moon cycle as a continual framework to maintain the rhythm and logic of her practise, and is continually in the midst of deconstructing the complexity of working as a settler on unceded Wurundjeri land through her processes of both making and understanding. Her hope is that through circling, living through, and re-curringly interrogating these things she studies and tends to, something fruitful may gradually become embodied, communicated and understood in new ways by herself and those who encounter her work.
Sound Mastering: Casey Rice is an audio doula living and practicing on Djaara Country/Castlemaine, Victoria.
Catherine Ryan is an artist who works with performance, sound, text, video and installation. She often uses humour and references to philosophical and pop figures to interrogate the neoliberal disciplining the body. She has exhibited at galleries and festivals in Australia and Europe, including Gertrude Contemporary, MUMA (Melbourne), the Royal College of Art (London), the Vienna Biennale and the Melbourne Art Fair. She is currently a PhD candidate at RMIT University, researching how ideas from experimental composition, cybernetics and performance can help us wrestle with the existential threat of extinction that climate change and other catastrophes pose to life on our planet.
Cecilia Vicuña's work dwells in the not yet, the future potential of the unformed, where sound, weaving, and language interact to create new meanings.
'In January 1966, I began creating precarios (precarious) installations and basuritas, objects composed of debris, structures that disappear, along with quipus and other weaving metaphors. I called these works 'Arte Precario', creating a new independent category, a non-colonized name for them. The precarios soon evolved into collective rituals and oral performances based on dissonant sound and the shamanic voice. The fluid, multi-dimensional quality of these works allowed them to exist in many media and languages at once. Created in and for the moment, they reflect ancient spiritual technologies—a knowledge of the power of individual and communal intention to heal us and the earth.'
Chi Tran is a writer, editor, and an artist who makes poems that may be text, video, object, sound, or drawing. Chi is primarily interested in working with language as a means of coming-to-terms. Their work has been published by Incendium Radical Library Press, Cordite Poetry Review, Australian Poetry and Liminal Magazine and exhibited at galleries including Firstdraft, Sydney; Punk Café, Melbourne; and ACCA, Melbourne. In 2019, as a recipient of The Ian Potter Cultural Trust Fund, Chi spent three months in New York developing their practice with renowned poets including Mei-mei Berssenbrugge, Fred Moten, and Jackie Wang.
Christopher L G Hill is an artist, poet, anarchist, collaborator, facilitator, lover, friend, DJ, performer, sound pervader, publisher of Endless Lonely Planet, co-label boss; Bunyip trax, traveller, homebody, dancer, considerate participator, dishwasher, writer, bencher, eater, exhibitor: Sydney, Physics Room, Westspace, TCB, BUS, Punk Cafe,100 Grand street, Lismore Regional Gallery, Good Press, Gambia Castle, Conical, GCAS, NGV, VCA, Mission Comics, Slopes, Art Beat, Papakura Gallery, Neon Parc, UQ Gallery, Tate Modern, Connors Connors, Glasgow International, Sandy Brown, OFLUXO, New Scenarios, Margaret Lawrence, Flake, Utopian Slumps, World Food Books, Sutton, Rearview, Joint Hassles, a basement, a tree, Innen publications, SAM, Chateau 2F, etc, and tweeter, twitcher, sleeper, Biennale director (‘Melbourne Artist initiated’ 2008, 2011, 2013, 2016, 2018-20), DJ, retired gallerist Y3K, conversationalist who represents them self and others, born Melbourne/Narrm 1980c.e, lives World.
Chun Yin Rainbow Chan is a Hong Kong–Australian artist, living in Sydney. Working across music, performance and installation, Rainbow is interested in the copy and how the ways in which it can disrupt Western notions of ownership. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the counterfeit as a complex sign that shapes new myths, values and contemporary commodity production.
Claire G Coleman is a Noongar writer, born in Western Australia, and now based in Naarm. Her family have been from the area around Ravensthorpe and Hopetoun on the south coast of WA since before time started being recorded. Claire wrote her black&write! Fellowship-winning book Terra Nullius while travelling around Australia in a caravan. The Old Lie (2019) was her second novel and in 2021 her acclaimed non-fiction book, Lies, Damned Lies was published by Ultimo Press. Enclave is her third novel. Since mid 2020 Claire has also been a member of the cultural advisory committee for Agency, a Not-for-profit Indigenous arts Consultancy.
Clare Milledge is an artist and academic, she lives and works between the lands of the Arakwal people in Bundjalung country (Broken Head, Northern NSW) and the lands of the Bidjigal and Gadigal people (Paddington, Sydney). She is a Senior Lecturer at UNSW Art & Design and is represented by STATION gallery.
Coco Klockner is an artist and writer living in New York City. Recent exhibitions include venues such as The Alfred Ceramic Art Museum, Alfred, NY; Interstate Projects, Brooklyn; Guadalajara90210, CDMX; The Luminary, St. Louis; Bass & Reiner, San Francisco; Lubov, New York; ONE Archives, Los Angeles; and Egret Egress, Toronto. They are the author of the book K-Y (Genderfail, 2019) and have published writing with Montez Press, Real Life Magazine, Spike Art Magazine, and Burnaway.
Dale Gorfinkel is a musician-artist whose stylefree improvisational approach informs his performances, instrument-building, and kinetic sound installations. Aiming to reflect an awareness of the dynamic nature of culture and the value of listening as a mode of knowing people and places, Dale is interested in bringing creative communities together and shifting perceived boundaries. Current projects include Prophets, Sounds Like Movement, and Music Yared as well as facilitating Art Day South, an inclusive arts studio with Arts Access Victoria.
Damiano Bertoli was an artist and writer who worked across drawing, theatre, video, prints, installation and sculpture. With works of great humour and intelligence, Bertoli was best known for his ongoing series Continuous Moment, which sprawled a range of mediums across multiple works, ultimately circulating on time itself. His practice gravitated toward aesthetic and cultural moments, particularly related to his birth year of 1969.
Daniel Green is an artist and performer. His practice explores the objects and media we use to occupy our time, and how they are used to give our lives meaning. Daniel’s work has been exhibited within Campbelltown Arts Centre, Pelt, Artspace and BUS Projects, and has performed at Electrofringe, The Now Now Festival, Liquid Architecture, the Museum of Contemporary Art Australia, and Cafe OTO in London. He lives and works in London.
Daniel Jenatsch makes interdisciplinary works that explore the interstices between affect and information. His work combines hyper-detailed soundscapes, music and video to create multimedia documentaries, installations, radio pieces, and performances. He is the winner of the 2020 John Fries award. His works have been presented in exhibitions and programs at ACCA, UNSW, Arts House, Kunstenfestivaldesarts, the Athens Biennale, NextWave Festival, Australian Centre for the Moving Image, Liquid Architecture Festival, the Museum of Contemporary Art, Sydney, and the MousonTurm, Frankfurt.
Danni Zuvela is a curator and writer based in Melbourne and the Gold Coast. Her research is informed by interests in feminism, activism, ecology, language and performance. With Joel Stern, Danni has led Liquid Architecture as Artistic Director, and continues to develop curatorial projects for the organisation.
Debris Facility Pty Ltd is a para-corporate entity who engages im/material contexts with the view to highlight and disrupt administrative forms and their embedded power relations. Deploying print, design, installation, and wearables as the most visible parts of operations, they also work in experimental pedagogy and perforated performance of labour. They are a white-settler parasite with theft and dispossession as the implicated ground from which they work. They currently hold contracts with Liquid Architecture, Victorian College of the Arts, Monash University and Debris Facility Pty Ltd.
Diego Ramirez makes art, writes about culture, and labours in the arts. In 2018, he showed his video work in a solo screening by ACCA x ACMI and he performed in Lifenessless at West Space x Gertrude Contemporary in 2019. His work has been shown locally and internationally at MARS Gallery, ACMI, Westspace, Torrance Art Museum, Hong-Gah Museum, Careof Milan, Buxton Cotntemporary, WRO Media Art Biennale, Human Resources LA, Art Central HK, Sydney Contemporary, and Deslave. His words feature in Art and Australia, NECSUS, un Projects, Runway Journal, Art Collector, and Australian Book Review. He is represented by MARS Gallery, Editor-at-large at Running Dog and Gallery Manager at SEVENTH.
Dimitri Troaditis works in the Greek-Australian media. As a poet he has been extensively published in Greece and in Australia in numerous literary journals, websites, blogs and anthologies. He has published six poetry collections and two social history books so far. He has organised poetry readings in Melbourne for years and translates others’ poetry. He runs poetry website To Koskino and was a resident of Coburg for 19 years.
Douglas Kahn is an historian and theorist of energies in the arts, sound in the arts and sound studies, and media arts, from the late-nineteenth century to the present. He lives on unceded Dharug and Gundungurra land. His books include Energies in the Arts (MIT Press, 2019); Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013); Noise Water Meat: A History of Sound in the Arts (MIT Press, 1999); Mainframe Experimentalism: Early Computing and the Foundations of Digital Arts, edited with Hannah Higgins (University of California Press, 2012); and Source: Music of the Avant-garde, edited with Larry Austin (University of California Press, 2011).
Dr. Lawrence Abu Hamdan
Internationally Known Private Ear
Serving Industries of Culture Since 2007
Licensed & Bonded: Goldsmiths College, University of London
Civil | Criminal | Human | Marital | Theological | Supernatural
Bureaus: Beirut, Berlin, Dubai, London
Dylan Martorell is an artist and musician based in Narrm/Melbourne Victoria. He is a founding member of Slow Art Collective, Snawklor, Hi God People, and Forum of Sensory Motion. He has performed and exhibited internationally, including projects with; Art Dubai, Asian Art Biennale, Tarrawarra Biennale, Jakarta Biennale and Kochi Muzirus Biennale. His work often combines site-specific materiality and music to create temporary sites for improvised community engagement.
Dylan Robinson is a xwélméxw (Stó:lō) writer, artist, scholar and curator, He is Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. He is author of Hungry Listening, Resonant Theory for Indigenous Sound Studies, published by University of Minnesota Press.
Elena Biserna is a scholar and independent curator based in Marseille (France), working at the intersection of social, political and public spheres.
Eloise Sweetman loves art, misses her home in Western Australia, all the time loving Rotterdam where she became friends with Pris Roos whose artwork Sweetman speaks of. Sweetman is a curator, artist, writer and teacher working in intimacy, not knowing and material relation. She started Shimmer with Dutch-Australian artist Jason Hendrik Hansma in 2017.
Author of Hearing the Cloud (Zero Books), Emile Frankel is a writer and composer researching the changing conditions of online listening. In his spare time he runs the science fiction and critical fantasy publisher Formling.
Curious about the tender intersections between art, life and friendships, Emma Nixon is an emerging curator and writer. In 2018 she completed a Bachelor of Art History and Curating at Monash University and co-founded Cathedral Cabinet ARI in the Nicholas Building. In Melbourne she has curated and written about exhibitions that investigate subjects such as abstraction, the domestic, care and collage within contemporary art.
Emma Ramsay is active across experimental dance and DIY music; sound performance; and other text collaborations. She works in community media and archives.
Emma Russell is a critical carceral studies scholar and senior lecturer in crime, justice and legal studies at La Trobe University, Australia. She researches and writes on policing and criminalisation, prisons, detention, and activism. Emma is the author of Queer Histories and the Politics of Policing (2020) and co-author of Resisting Carceral Violence: Women’s Imprisonment and the Politics of Abolition (2018).
Eric Avery is a Ngiyampaa, Yuin, Bandjalang and Gumbangirr artist. As part of his practice Eric plays the violin, dances and composes music. Working with his family’s custodial songs he seeks to revive and continue on an age old legacy – continuing the tradition of singing in his tribe – utilising his talents to combine and create an experience of his peoples culture.
Fayen d’Evie is an artist and writer, based in Muckleford, Australia. Her projects are often conversational and collaborative, and resist spectatorship by inviting audiences into sensorial readings of artworks. Fayen advocates the radical potential for blindness, arguing that blindness offers critical positions and methods attuned to sensory translations, ephemerality, the tangible and the intangible, concealment, uncertainty, the precarious, and the invisible. With artist Katie West, Fayen co-founded the Museum Incognita, which revisits neglected or obscured histories through scores that activate embodied readings. Fayen is also the founder of 3-ply, which investigates artist-led publishing as an experimental site for the creation, dispersal, translation, and archiving of texts.
Fjorn Butler is an artist, researcher, and event organiser. As an artist, she works primarily in sound and performance under the name Papaphilia. As a researcher, she interrogates how biological discourses are used in neoliberal/colonial governance structures to shape the political. Fjorn's research informs her writing on sound-poetics and the challenges this framework poses to anglophone notions of property. She is also co-director of Future Tense and co-curator of Writing and Concepts.
Frances Barrett is an artist who lives and works on Kaurna land in Tarntanya/Adelaide. Frances is currently Lecturer in Contemporary Art at University of South Australia.
Francis Carmody’s artistic practice serves as a useful alibi to reach out to people he admires across disciplines and technical capabilities to share stories and complete projects. Through tracing networks and natural structures, he would like to get to the bottom of what the hell is going on.
This process of enquiry draws on meticulous research, cold calling, persistence and frequent rejection. Creating an ever-expanding list of Project Partners.
Francis Plagne is a musician and writer. He has written about contemporary art for several major Australian publications and institutions. His musical work integrates idiosyncratic forms of songwriting with a variety of other approaches, including group improvisation, instrumental miniatures, and domestic musique concrète. He has been performing live regularly since 2005 and has released recordings on labels such as Black Truffle, Horn of Plenty, Kye Records, Penultimate Press and his own Mould Museum micro-label.
Freya Schack-Arnott is an Australian/Danish cellist who enjoys a multi-faceted career as a soloist and ensemble performer of classical and contemporary repertoire, curator and improviser within experimental music, electronics, popular and cross-disciplinary art forms. Schack-Arnott regularly performs with Australia's leading new music ensembles, including ELISION Ensemble (as core member) and Ensemble Offspring. Her curatorial roles include co-curator/founder of the regular 'Opus Now' music series and previous curator of the NOW Now festival and Rosenberg Museum.
Geoff Robinson is a Melbourne-based artist working on Wurundjeri country. Robinson creates event-based artworks that utilise the temporal qualities of sound and performance and the spatial conditions of physical sites to unravel the durational layers of place. Robinson has presented projects with Titanik, Turku; Bus Projects, Melbourne; Liquid Architecture, Melbourne; and MoKS, Mooste, Estonia. He was awarded the Melbourne Prize for Urban Sculpture 2014 and completed the PhD project Durational Situation at MADA, Monash University, Melbourne, 2018.
Georgia Hutchison is a cultural development practitioner and arts executive in Naarm/Melbourne, and Executive Director/CEO of Liquid Architecture. Her practice as an artist, educator, organiser and strategist crosses contemporary art, music, design and social justice.
Gooooose (Han Han) is an electronic music producer, visual artist and software developer based in Shanghai, China. His current releases include They (D Force, 2017), Dong 1 (D Force, 2018), Pro Rata (ANTE-RASA, 2019). Gooooose's 2019 SVBKVLT–released RUSTED SILICON received positive reviews from media including boomkat, Resident Advisor, Dusted Magazine, and The Wire. Gooooose has performed live at CTM (Berlin, 2018), Nyege Nyege (Kampala, 2019), Soft Centre (Sydney, 2019), Unsound (Kraków, 2019) and Recombinant (San Francisco, 2019).
Harmony Holiday is a writer, dancer, archivist, director, and the author of four collections of poetry, Negro League Baseball, Go Find Your Father/A Famous Blues, Hollywood Forever, and A Jazz Funeral for Uncle Tom. She lives in New York and Los Angeles.
Haroon Mirza is an artist who intertwines his practice with the role of composer. Mirza considers electricity his main medium and creates atmospheric environments through the linking together of light, sound, music, videos and elements of architecture. Regularly showing internationally in group and solo exhibitions, Mirza’s work has also been included in the 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion.
Holly Childs is an artist and writer. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram, Melbourne) and Danklands (Arcadia Missa, London), and she collaborates with Gediminas Žygus on ‘Hydrangea’. She is currently writing her third book, What Causes Flowers Not to Bloom?.
Holly Herndon experiments at the outer reaches of dance music and pop. Born in Tennessee, Herndon spent her formative years in Berlin’s techno scene and repatriated to San Francisco, where she completed her PhD at Stanford’s Center for Computer Research in Music and Acoustics. Her albums include Platform (2015) and Proto (2019).
Iliass Saoud was born in Halba, Lebanon in 1960 as the sixth of eight children of Wakim and Nadima Saoud. Escaping the Lebanese Civil War in 1977, Iliass migrated to Canada pursued a BA in Mathematics from Dalhouse University in 1982. In 1987 he married Janice Joseph (Fakhry) before settling in Australia to raise his family in 1997, owning a variety of small businesses including the Gaffney Street post office across from the Lincoln Mill’s Centre in Coburg from 2005-2011. Currently, Iliass works part time at a local newsagency and is an avid Bridge player and a dedicated grandfather of one.
The Convoy conjure illustrious soundscapes from the abyss of chaos, revealing hidden worlds of the imagination as the performance takes form and infuses with subjective experience. Using instruments of sound, light and smell, The Convoy enchant space with themes of tension, evolution, entropy and regeneration. Sensorial immersion transports audiences through highly dynamic environments that shift and blend into one single, breathing moment. As entity, rather than singular, Immy Chuah is a guest within The Convoy on unceded land.
Isha Ram Das is a composer and sound artist primarily concerned with ecologies of environment and culture. He works with experimental sound techniques to produce performances, installations and recordings. He was the 2019 recipient of the Lionel Gell Award for Composition, and has scored feature-length films and nationally-touring theatre installations. He has performed at institutions such as the Sydney Opera House; Black Dot Gallery, Melbourne; Institute of Modern Art, Brisbane; Metro Arts, Brisbane; Museum of Contemporary Art, Sydney; and Boxcopy, Brisbane.
Ivan Cheng's recent works are context specific situations, dealing with language and driven by relations with collaborators and hosts. His background as a performer and musician form the basis for using performance as a critical medium. Invested in questions around publics and accessibility, he produces videos, objects, paintings and publications as anchors for the staging of complex and precarious spectacles. His work is presented internationally, and he has initiated project space bologna.cc in Amsterdam since 2017.
Ivy Alvarez’s poetry collections include The Everyday English Dictionary, Disturbance, and Mortal. Her latest is Diaspora: Volume L (Paloma Press, 2019). A Fellow of MacDowell Colony (US), and Hawthornden (UK), her work is widely published and anthologised (twice in Best Australian Poems), with poems translated into Russian, Spanish, Japanese and Korean. Born in the Philippines and raised in Australia, she lived in Wales for almost a decade, before arriving in New Zealand in 2014.
Jacqui Shelton is an artist and writer born on Barada Barna land, central QLD, and based in Narrm, Melbourne. Her work uses text, performance, film-making and photography to explore the complications of performance and presence, and how voice, language, and image can collaborate or undermine one another. She is especially interested in how emotion and embodied experience can be made public and activated to reveal a complex politics of living-together, and the tensions this makes visible. She has produced exhibitions and performance works in association with institutions including Gertrude Contemporary, the Institute of Modern Art, West Space, Australian Centre for Contemporary Art, Tarrawarra Museum, and with Channels Festival and Liquid Architecture. Shelton has shown work internationally in Milan at Care-Of, and at NARS Inc in New York City. She teaches photography at Monash University and in the Masters of Media program at RMIT, and holds a PhD from Monash University.
James Hazel is a composer/artist/researcher based on the unceded Gadigal land of the Eora Nation. As someone who lived in an underclass (social-housing) community for fourteen years, James employs extended score practices across sound, music, utterance, and (re)performance to interrogate what it means to live, love, and listen under precarity – stemming from both lived/researched experiences of poverty. As an advocate in this area, James has commissioned several artists from low-SES backgrounds through ADSR Zine.
In recent years, James has 'worked' for the dole; various call centres; and, more recently, as a casual academic in musicology at USYD. In 2021, James was selected as one of the ABC Top 5 Researchers (Arts).
James Parker is an academic at Melbourne Law School and long-time associate curator with Liquid Architecture. His work explores the many relations between law, sound and listening. He is currently working on machine listening with Joel Stern and Sean Dockray.
James Rushford is an Australian composer-performer who holds a doctorate from the California Institute of the Arts, and was a 2018 fellow at Academy Schloss Solitude in Stuttgart. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow. James has been commissioned as a composer by ensembles including the BBC Scottish Symphony Orchestra (Glasgow), and Melbourne Symphony Orchestra, and regularly performs in Australia and internationally.
Jannah Quill’s deconstructive exploration of electronic instruments and technologies manifests in electronic music production and experimental audio-visual performance and installation. Jannah modifies existing technologies (such as solar panels) into innovative light-to-audio systems, used with software/hardware experimentation and modular synthesis to carve a distinct voice in electronic music and art.
Jared Davis is a writer and curator based in London with an interest in independent music, sound culture, and its politics. He is Associate Editor of AQNB and co-host of the editorial platform’s Artist Statement podcast.
Jasmine Guffond is an artist and composer working at the interface of social, political, and technical infrastructures. Focused on electronic composition across music and art contexts her practice spans live performance, recording, installation and custom made browser add-ons. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated-knowledge practice.
Jason De Santolo (Garrwa and Barunggam) is a researcher & creative producer based in the School of Design, University of Technology Sydney, Australia. He has worked with his own communities as an activist and advocate using film and performance, protest and education to bring attention to injustices and design solutions using Indigenous knowledge.
Jen Callaway is a Melbourne musician, sound and performance artist, photographer, and community services worker raised in various parts of Tasmania. Current projects include bands Is There a Hotline?, Propolis, Snacks and Hi God People; and upcoming film Here at the End, by Campbell Walker, as actor/co-writer.
Jessica Aszodi is an Australian-born, London-based vocalist who has premiered many new pieces, performed work that has lain dormant for centuries, and sung roles ranging from standard operatic repertoire to artistic collaborations. She has been a soloist with ensembles including ICE; the Melbourne, Sydney and Adelaide Symphony Orchestras; and San Diego and Chicago Symphony Orchestras’ chamber series. Aszodi can be heard on numerous recordings and has sung in festivals around the world. She holds a Doctorate of Musical Arts from the Queensland Conservatorium, an MFA from the University of California, and is co-director of the Resonant Bodies Festival (Australia), and artistic associate of BIFEM.
Jessie Scott is a practising video artist, writer, programmer and producer who works across the spectrum of screen culture in Melbourne. She is a founding member of audiovisual art collective Tape Projects, and co-directed and founded the inaugural Channels Video Art Festival in 2013.
Jim Denley is one of Australia's foremost improvisers. Over a career spanning four decades his work has emphasised the use of recording technologies, collaboration, and a concern with site-specificity.
Joee Mejias is a musician and video artist from Manila. She is co-producer of WSK, the first and only international festival of digital arts and new media in the Philippines and co-founder of HERESY, a new platform for women in sound and multimedia. She performs as Joee & I: her avant-pop electronica solo project.
Joel Sherwood Spring is a Wiradjuri man raised between Redfern and Alice Springs who works across research, activism, architecture, installation and speculative projects. At present, his work focuses on the contested narratives of Sydney’s and Australia’s urban culture and indigenous history in the face of ongoing colonisation.
Joel Stern is a Post-Doctoral Fellow at the School of Media and Communication at RMIT, and an Associate Editor at Disclaimer. With a background in experimental music, Stern’s work — spanning research, curation, and art — focuses on practices of sound and listening and how these shape our contemporary worlds. From 2013-2022 he was the Artistic Director of Liquid Architecture.
Berlin-based composer-performer Johnny Chang engages in extended explorations surrounding the relationships of sound/listening and the in-between areas of improvisation, composition and performance. Johnny is part of the Wandelweiser composers collective and currently collaborates with: Catherine Lamb (Viola Torros project), Mike Majkowski (illogical harmonies), Phill Niblock, Samuel Dunscombe, Derek Shirley and others.
Jolyon Jones is a Berlin-based student of fine arts at the University of Arts Berlin. He works primarily between sculpture, drawing, print media and sound. With an interest in practices of labour, Jolyon draws upon his background in anthropology exploring embedded concepts through research and architecture and the latent possibilities of everyday materials such as concrete, graphite, and silicone to access speculative narratives and the construction of mementos.
Jon Watts is a Melbourne/Naarm based musician, designer, 3D artist and animator. His music has been released through cult labels SUMAC and Butter Sessions, and he is currently Senior Multimedia Installer at the National Gallery of Victoria.
Josten Myburgh is a musician based on Whadjuk Noongar boodja country who plays with techniques from the worlds of electro-acoustic music, radio art, free improvisation, field recording and experimental composition. He co-directs exploratory music label Tone List and the Audible Edge festival. He has performed in South Africa, the United States, and throughout South East Asia, Europe and Australia. He is a Schenberg Fellow and a student of Antoine Beuger and Michael Pisaro.
Joy Zhou is a China born emerging artist and design practitioner based in Naarm/Melbourne. Informed by their background in Interior Design, Joy’s practice entails gestures of queering which unfold encounters and events that draw relationships between people, places, and spaces.
Julius Killerby is an artist living and working in London. His work focuses on the psychological ripple effects of certain cultural and societal transformations. Part of Julius’ practice also includes portraiture, and in 2017 he was nominated as a finalist in the Archibald Prize for his portrait of Paul Little. His work has been exhibited at VCA Art Space, the Art Gallery of New South Wales, the Art Gallery of Ballarat, and Geelong Gallery.
Katie West is a multi-disciplinary artist who lives on Noongar Ballardong boodja and belongs to the Yindjibarndi people of the Pilbara tablelands in Western Australia. The process and notion of naturally dyeing fabric underpin her practice – the rhythm of walking, gathering, bundling, boiling up water and infusing materials with plant matter. The objects, installations and happenings that Katie creates invite attention to the ways we weave our stories, places, histories, and futures.
Kaz Therese (they/them) grew up on Darug land in Mt Druitt, Western Sydney. They are an interdisciplinary artist and cultural leader with a practice grounded in performance, activism and community building. Their work is inspired by place and narrative from working class & underclass settings. From 2013- 2020 they were the Artistic Director of PYT Fairfield. Kaz directed the Helpmann nominated PLAYLIST (premiered 2018), UnWrapped, Sydney Opera House (2019) Other works include TRIBUNAL presented at Griffin Theatre, ArtsHouse Melbourne, Sydney Opera House, Sydney Festival; WOMEN OF FAIRFIELD with MCA C3West and STARTTS, winning the Sydney Myer Arts & Cultural Award for Best Arts Program (2016).Kaz is founder of FUNPARK ,Mt Druitt (Sydney Festival 2014) and a graduate of the 2019 Australia Council Cultural Leadership program.
Kengné Téguia is a Black Deaf HIV+ cyborg artist, who works from sound deafinitely. #TheBLACKRevolutionwillbeDEAFinitelyLoud
Kt Spit (Katie Collins) is an artist and musician based in Narrm (Melbourne). Lyrically and visually her work explores subcultural narratives and challenges dominant representations of loss, grief, and true love. In 2015 Kt independently released her debut album, Combluotion, and in 2019 will release a visual album entitled Kill the King.
Kynan Tan is an artist interested in the relations and conditions of computational systems, with a focus on data, algorithm, networks, materiality, control, and affect. These areas are explored using computer-generated artworks that take the form of simulations, video, sound, 3d prints, text, code, and generative algorithms.
Las Chinas is the cosmic coincidences led to the meeting of Chileans Sarita Gálvez and Camila Marambio in Melbourne. Their shared reverence for the ancestral flautón chino from the Andes Mountains lead to playful explorations of its unique dissonant sounds and thereafter to experimenting with atonal signing and other technologies of the spirit.
Influenced by Chilean feminist poet Cecilia Vicuña, the now deceased poet Fidel Sepúlveda, the musical ensemble La Chimuchina and the chino bands from the townships of La Canela and Andacollo, Las Chinas honours the ancestral tradition by enacting the principle of tearing each other apart.
Laura McLean is a curator, writer, and researcher based in Naarm Melbourne. She is an Associate Curator at Liquid Architecture, member of the ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S), and is currently undertaking a PhD in Curatorial Practice at MADA, Monash University. Past curatorial projects include CIVICS, Maroondah Federation Estate Gallery, Melbourne (2020); Startup States, Sarai-CSDS, Delhi (2019); and Contingent Movements Archive, Maldives Pavilion, 55th Venice Biennale (2013). Her writing is included in edited books published by Arena, Calouste Gulbenkian Foundation, and the MIT Press, among others, and has been published by journals including Eyeline, Realtime, HKW Technosphere Magazine, and ArtAsiaPacific.
Originally from the Gulf of Carpentaria, Laurie May has made home here in the desert in Mparntwe. With Aboriginal ancestry from Central Queensland from her father and New Zealand heritage from her ma they have the saltwater, the red dirt and long white cloud in their veins. Embracing trauma and a troubled youth to bring you anti-capitalist poetry that makes you think. Laurie is also the Festival Director for the Red Dirt Poetry Festival and an award winning event producer.
Leighton Craig is an artist living in Meanjin/Brisbane. He has been in a number of bands (The Lost Domain, G55, The Deadnotes et al) and is currently a member of the duo Primitive Motion with Sandra Selig.
Liang Luscombe is a Naarm/Melbourne-based visual artist whose practice encompasses painting, sculpture and moving image that engage in a process of generative questioning of how media and film affect audiences.
Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation.
Lisa Lerkenfeldt is a multi-disciplinary artist working in sound, gesture and performance. Central to her practice is languages of improvisation and intimacy with technology. Traces of a personal discipline and form of graphic notation are introduced in the online exhibition 14 Gestures. The associated recorded work Collagen (Shelter Press, 2020) disrupts the role of the common hair comb through gesture and sound.
Lucreccia Quintanilla is an artist, writer, DJ and recently completed her PhD at Monash University. Her writing and art have been published and exhibited both within Australia and internationally. Quintanilla’s practice is a collaborative one that manifests into outcomes within galleries and also as events and performances outside of that context. She regularly speaks at panels and symposiums on themes within her research, has received grants for her projects and residencies.
Luisa Lana was born in Australia in 1953. Her mother Nannina had arrived in Australia in 1950 with a 3 month old son, and worked for many years on the sewing room floors and her father Angelo worked on the docks where he helped unionise the Italian workforce. Luisa and her brother were latchkey kids, as they looked after themselves in the morning and ran the ‘Continental’ deli in the evenings. Luisa attained a teaching degree, then a postgrad in Social Sciences, and twice studied Italian at The University for Foreigners in Perugia, Italy. Luisa married Luigino Lana, a Venetian migrant who operated a mechanic business in Brunswick for over 30 years. She devoted her life to being an educator and a mother, teaching Italian to English speakers and English to generations of migrants from around the world. Currently Luisa is translating her father's memoirs from Italian to English, and enjoying being a Nonna.
Luke Conroy is a Tasmanian multidisciplinary artist currently based in The Netherlands. With a background in sociology and arts education, Luke’s artistic practice engages with socio-cultural topics in meaningful yet playful ways, utilising humour and irony as essential tools for critical reflection and expression. The outcome of his work utilises an ever-evolving multimedia and audio-visual practice which includes photography, digital-art, video, sound, VR, textile, text, and installation.
Lu Yang (b. Shanghai, China) is a multimedia artist based in Shanghai. Mortality, androgyny, hysteria, existentialism and spiritual neurology feed Lu’s jarring and at times morbid fantasies. Also taking inspiration and resources from Anime, gaming and Sci-fi subcultures, Lu explores his fantasies through mediums including 3D animation, immersive video game installation, holographic, live performances, virtual reality, and computer programming. Lu has collaborated with scientists, psychologists, performers, designers, experimental composers, Pop Music producers, robotics labs, and celebrities throughout his practice.
Lu Yang has held exhibitions at UCCA (Beijing), MWoods (Beijing), Cc Foundation (Shanghai), Spiral (Tokyo), Fukuoka Museum of Asian Art (Fukuoka, Japan), Société (Berlin), MOCA Cleveland (Cleveland, Ohio). He has participated in several international biennials and triennials such as 2021 Asia Society Triennial (New York), 2012 & 2018 Shanghai Biennial, 2018 Athens Biennale, 2016 Liverpool Biennial, 2016 International Digital Art Biennale (Montreal), Chinese Pavilion of the 56th Venice Biennale, and 2014 Fukuoka Triennial. In 2020, Lu Yang was included in Centre Pompidou’s exhibition Neurons, simulated intelligence in Paris. In 2019, Lu was the winner of the 8th BMW Art Journey and started the Yang Digital Incarnation project.
makik markie yammamoroto
Mandy Nicholson is a Wurundjeri-willam (Wurundjeri-baluk patriline) artist and Traditional Custodian of Melbourne and surrounds. Mandy also has connections to the Dja Dja wurrung and Ngurai illam wurrung language groups of the Central/Eastern Kulin Nation. Mandy gained a Bachelor of Arts (Honours) in Aboriginal Archaeology in 2011, worked for the Victorian Aboriginal Corporation for Languages for six years and is now a PhD candidate studying how Aboriginal people connect to Country, Off Country.
Mara Schwerdtfeger is a composer / curator / audio producer based in Eora / Sydney. She plays the viola and collaborates with her laptop to create live performances and recorded pieces for film, dance, and gallery spaces.
Maria Moles is an Australian drummer, composer and producer based in Narrm/Melbourne.
Martina Becherucci graduated in Cultural Heritage at the University of Milan and is currently completing her studies with a Master degree in Economics and Management of Arts and Cultural Activities at the Ca' Foscari University of Venice. Martina loves being in contact with visitors in museums and galleries, during temporary exhibitions and cultural events.
Martyn Reyes is a Filipino-Australian writer and artist based in Madrid. His work can be found in the Sydney Review of Books, Kill Your Darlings, SBS Voices, LIMINAL Magazine and more. He is currently working on a book-length project.
Mat Dryhurst is an artist who releases music and artworks solo and in conjunction with Holly Herndon and the record label PAN. Dryhurst developed the decentralised publishing framework Saga, which enables creators to claim ownership of each space in which their work appears online, and a number of audio plays that derive their narrative from the personal information of listeners. He lectures on issues of music, technology, and ideology at NYU, and advises the blockchain-based platform co-operative Resonate.is.
Mat Spisbah is a New Media curator with a unique portfolio of programming that seeks to integrate non-traditional artistic methods and emerging technologies. Having lived in Hong Kong for 14 years, he is connected to the region’s art and culture, and has created professional networks with artists, curators, galleries, promoters and industry professionals across Australasia. Portfolio highlights include the debut Australian performances of north Asian artists including: Howie Lee, Rui Ho, Meuko Meuko, Pan Daijing, Alex Zhang Hungtai, Tzusing, and Gabber Modus Operandi.
Mattin is a cross disciplinary artist working with noise, improvisation and dissonance. His work Social Dissonance was presented at documenta 14 in 2017 in Kassel and Athens.
Megan Alice Clune shifts between musician, composer and artist. Primarily, her work explores both the concept and aesthetics of ambient music through sound installation, collaboration and performance. Megan is the founding member of the Alaska Orchestra, and has presented work and undertaken residencies across Australia, Asia, Europe and North America, including the Bang on a Can Summer Music Festival (MA), Next Wave Festival, Underbelly Arts Festival, Performa 15 (NYC) and VividLIVE at the Sydney Opera House.
Megan Cope is a Quandamooka woman (North Stradbroke Island) in South East Queensland. Her site-specific sculptural installations, video work and paintings investigate issues relating to identity, the environment and mapping practices. Cope’s work often resists prescribed notions of Aboriginality and becomes psychogeographies across various material outcomes that challenge the grand narrative of ‘Australia’ as well as our sense of time and ownership in a settler colonial state.
Mehak Sawhney is a scholar, curator, and activist with research interests in sound and media cultures of South Asia. She is currently pursuing her PhD in Communication Studies at McGill University. Funded by the Vanier Canada Graduate Scholarship, her doctoral project explores audio and targeted state surveillance in postcolonial India. She has also been associated with Sarai-CSDS in Delhi since 2017. Previously, her ethnographic work has studied urban sound and listening cultures as well as the politics of machine listening and voice interfaces in contemporary India. Her academic and public writing has been published in Media, Culture & Society, Amodern, and The Wire, among others.
Melissa Johnson is Associate Professor of Art History & Visual Culture at Illinois State University (Normal, IL). Her scholarly research focuses on the histories of craft and its intersections with modern and contemporary art. She is currently working on a project that explores artists making work in response to the writings of Virginia Woolf. She’s deeply interested in situating her academic writing and her textile-based work as parallel practices, and is working on two writing and textile projects, “Woolf Words” and “Haptic Investigations,” and a project on mending and repair.
Michael Terren is a musician and educator from Boorloo/Perth. Grounded in experimental studio-based practice, his work explores the social construction of the technologies of music’s creation and distribution. He is a sessional academic teaching music at two Boorloo universities, and in 2019 finished a PhD thesis entitled 'The grain of the digital audio workstation'.
Michiko Ogawa is a performer-composer specialising in the clarinet, born and raised in Tokyo, Japan. She performs not only classical repertoire but also contemporary and experimental music, including free improvisation and film soundtrack work. In 2019 she was awarded a doctorate (DMA) from the University of California San Diego, with a dissertation focusing on the film music of Teiji Ito. She is in the beginning stages of writing a biography of Ito’s life.
Mitch L Ryan is a writer whose work explores histories of countercultures, music, media, and politics.
MP Hopkins is an artist working on Gadigal and Wangal land in Sydney, Australia that makes audio, performance, radiophonic, and textual works. He uses voice, feedback, recording/playback devices, and verbal notation within different acoustic environments, which are deconstructed and presented to the listener in delicate and degraded ways. Hopkins has released recordings with Penultimate Press, Canti Magnetici, Tahalamos, Mappa Editions and Regional Bears. He has presented projects for the NOW now, Liquid Architecture, Avantwhatever, and The Make It Up Club. International appearances include Café Oto, UK; LaSalle College of the Arts, Singapore; Les Ateliers Claus, Belgium; TUSK Festival, UK; Colour Out of Space Festival, UK; and he has produced radiophonic works for Radiophrenia, Kunstradio, and the Radia network.
MSHR is an art collective that builds and explores sculptural electronic systems. Their practice is a self-transforming entity with its outputs patched into its inputs, expressing its form through interactive installations, virtual environments and live improvisations. MSHR was established in 2011 in Portland, Oregon by Brenna Murphy and Birch Cooper. Their name is a modular acronym, designed to hold varied ideas over time.
Myriad Sun are an experimental audio/visual/rap trio from Walyalup (Fremantle), Australia, composed of electronic producer Ben Aguero, Mc POW! Negro, and Limit Bashr. Additional performers: Mali Jose, Billy Jack Narkle and Polly-Pearl Greenhalgh.
Natasha Tontey is an artist and graphic designer based in Yogyakarta. She is interested in exploring the concept of fiction as a method of speculative thinking. Through her artistic practice she investigates the idea of how fear, horror, and terror could be manifested in order to control the public and how fictional accounts of the history and myth surrounding ‘manufactured fear’ might operate as a method of speculative fiction that determines expectations for the future.
Nathan Gray is an artist whose recent works use voice as their medium, taking form as lecture-performances, radio-plays and documentaries, DJ sets, narrative and rumour.
Neil Morris is a Yorta Yorta, Dja Dja Wurrung man. He is well known in Narrm/Birraranga for his musical project DRMNGNOW, a project built on subject matter tackling the colonial nature of the Australian construct and how that affects contemporary society upon this land. The work is unapologetic, clear, and deeply poetic. It hints toward Morris's extensive experience as a spoken word artist in Narrm since 2015. Morris's work is triumphant in the face of severe adversity often imbued in a quite fortified melancholy, a powerful marker of the survival of First Nations peoples in the now.
Nick Ashwood is a guitarist, composer, improviser and performer from Nipaluna/Tasmania now residing in Sydney. His focuses have been exploring deep listening, harmonic space and the possibilities of the steel-string acoustic guitar by means of preparations, just intonation, objects and bowing.
Nico Niquo, a.k.a Nico Callaghan, works and lives in Naarm/Melbourne, Australia. Since 2015, he has produced and released music under a variety of monikers with the North American label Orange Milk Records and Australian label Daisart. He has performed across Australia, East Asia, and Europe.
Noah Simblist works as a curator, writer, and artist with a focus on art and politics, specifically the ways in which contemporary artists address history. He has contributed to Art in America, Terremoto, Art Journal and other publications.
He is also an Associate Professor of Art at Virginia Commonwealth University.
Noemie Cecilia Huttner-Koros is a queer Jewish performance-maker, writer, dramaturg, poet, teaching artist and community organiser living and working on Whadjuk Noongar country in Boorloo (Perth). Her practice is driven by a deep belief in the social, political and communal role of art and performance and in engaging with sites and histories where queer culture, composting and ecological crisis occur.
Pan-Pan Kolektiva was established in March 2020, as a research group on listening. Pan-Pan is a standard emergency call based on the acronym Pan which stands for Pay Attention Now.
Patrick Hase is a digital media artist and researcher, focusing on work that often involves digital interfaces, experimental web design, and collaborative a/v. The entwined practical and theoretical aspects of his work are interested in exploring the embedded cultural and emotional impacts of how people are extended into the virtual via digital processes and designs.
Penelope Cain is interested in landscape in its widest definition, from the extracted, transformed and occupied landscapes of the Anthropocene, to the emergent Post-Carbon.
Her art practice is located interstitially between scientific knowledge and unearthing connected and untold narratives in the world. She works across media and knowledge streams, with scientists, datasets, people, stories, and land, to connect yet to be heard storytellings from the present and near future. She was awarded the Fauvette Loureiro Travelling Scholarship, Glenfiddich Contemporary Art Residency and is currently undertaking a one year S+T+ARTS residency in the Hague, for Rewild, Maxxi, Rome.
Philip Brophy writes on music, among other things.
Poppy de Souza is a Meanjin (Brisbane) based researcher affiliated with Griffith University and UNSW. Her work focuses on the politics of voice and listening—broadly defined—in conditions of inequality and injustice, including the relationship between sound, race, and conditions of (not) being heard. Poppy has previously worked in community arts and cultural development (CACD), and with the national Film and Sound Archive as a curator on australianscreen.
Pris Roos grew up in Rhenen, the Netherlands. Her family migrated from Bogor, Indonesia, to start their own toko in the Netherlands. Toko is the Indonesian word for shop, and they sell non-Western food (products). Roos grew up in the toko, a space of being together, and full of colours, smells, food, stories and images of immigrants. The toko is a source of inspiration for her artistic practices. Stories that are normally not heard find their way in her works. Roos makes portraits of immigrants that she meets in the toko, on the streets or in her surroundings of the South of Rotterdam. She visits them at home or invites them to her atelier. The stories are translated into painted portraits, videos, installations and spoken word performances.
Raven Chacon is a composer, performer and artist from Fort Defiance, Navajo Nation. His work ranges from chamber music to experimental noise, to large scale installations, produced solo and with the Indigenous art collective Postcommodity. At California Institute of the Arts, Chacon studied with James Tenney, Morton Subotnick, Michael Pisaro and Wadada Leo Smith developing a compositional language steeped in both the modernist avant-garde and Indigenous cosmologies and subjectivities. He has written for ensembles, musicians and non-musicians, and for social and educational situations, and toured the world as a noise artist.
Rob Thorne (Ngāti Tumutumu) is a new and original voice in the evolving journey of Taonga Puoro. His debut album Whāia te Māramatanga (Rattle Records) is a deeply felt and highly concentrated conversation between the past and the present—a musical passage of identity and connection. Using modern loop technology and traditional Māori flutes and horns made from stone, bone, shell and wood, Thorne creates a transcendent aural experience that touches the soul with timeless beauty. Every performance of Whāia te Māramatanga is a stunning and very personal exploration of the spiritual and healing qualities of an ancient practice.
Sage J Harlow received a PhD from WAAPA exploring improvised ritual magick using extra-normal vocal technique. She performs under the moniker Sage Pbbbt. Her work is inspired by Tuvan and Mongolian throat singing, Inuit throat singing, extreme metal, sound poetry and an ongoing exploration of extra-normal vocal technique. As well as industrial musick, trance, and drone; insight meditation practice, shamanism and chaos magick; feminist, queer and trans praxis; and Discordianism. As well as a vocalist, Sage plays percussion, bass and theremin. She creates sample-based electronic music and writes text scores that explore the ethics and politics between the players and composer.
Sam Peterson is interested in what can be done with one’s identity and the space around it.
'Both my body and mind, touching everyday feelings between the rational, the playful and the political. Of course, this is often to do with my disability and my sexuality. My work has been focused on access, and the lack of it — to places, people’s minds and opportunities. I find plasticine is a great subverter of space and potentially of people’s minds. And the continued flexibility of it is something I am really enjoying — covering or filling up gaps and playing with crevices. But I’m finding that my work is drawing more and more to spoken word as a powerful format.'
Sarah McCauley is a Melbourne-based music producer, editor and writer.
Australian musician Sean Baxter died on 15 March 2020. Part of Melbourne's improv scene, he is described by musician Anthony Pateras as possessing “a unique aesthetic vision and intellectual depth, mixing highbrow philosophical concepts with punk sensibilities in how he lived, spoke and played. He was pure energy.”
Drumkit and percussionist, Sean was an Australian improviser who forged an international reputation as a bold explorer of percussive possibilities both as a soloist and through his work with the acclaimed avant-garde trio, Pateras/Baxter/Brown. Focusing on the use of extended techniques applied to the conventional drum kit, he utilised an arsenal of metallic junk and other percussive detritus to expand the sonic palette of the percussion tradition. In addition to Pateras/Baxter/Brown, he was involved in many collaborations and was drummer for groups The Throwaways, Bucketrider, Lazy, SxSxSx and Terminal Hz.
Sean Dockray is an artist, writer, and programmer living in Melbourne whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is also the founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and Aaaaarg.
Sebastian Henry-Jones is a curator led by an interest in writing and DIY thinking. He looks to centre the ideas and requirements of those that he works with, and so his practice is informed by striving for a personal ethics with sincerity, generosity, honest communication and learning at its core.
Seb has staged group exhibitions and independent projects in Sydney and interstate, and is a co-founder of Desire Lines and Emerson. He works as a Curatorial Assistant at the Biennale of Sydney, Associate Curator at West Space, and was previously Editor at Runway Journal. He is currently based in Naarm.
Shareeka Helaluddin is a sound artist, DJ, producer at FBi Radio and community facilitator working in queer mental health. Creating under the pseudonym akka, her practice is concerned with drone, dissonance, memory, ritual, generative somatics and a pursuit of deeper listening. She is currently creating on unceded Gadigal and Wangal lands.
Shota is an artist working in Australia. He makes sound-based works for varying contexts. He has had the opportunity to collaborate with a multitude of artists from varying disciplines. Shota is currently an honours student who is associated with the Plant ecophysiology and Ecosystem processes lab at the University of Sydney.
Simon Charles is a composer and performer based in Noongar Ballardong Country (Western Australia). His practice reflects an interest in the instability of compositional structures; as friction between musical notation and perception and interactions with place. He has performed at Serralvés Festival (Porto), The Wulf (Los Angeles) Studio Rotor (Berlin), Vigeland Mausoleum (Oslo), Avantwhatever Festival (Melbourne), DATA (Marseille), ANAM Quarttethaus and the Melbourne Recital Centre.
Snack Syndicate, two rats (Andrew Brooks and Astrid Lorange) living on unceded Wangal land; texts, objects, events, meals, and publics.
Sonya Holowell is a Dharawal woman, vocalist, composer and writer working across new and experimental genres. The contexts for her work, and the forms they take, are diverse and deeply questioning. Her practice comprises interdisciplinary collaboration, improvisation, multi-form writing and conceptual composition. She is also a workshop facilitator; a curator of the Now Now Festival; lecturer in experimental vocal practice; and a co-founder/editor of online arts publication ADSR Zine.
Sounding Together comprise of the following performers: Rhys Butler (alto saxophone); Simon Charles (soprano saxophone, shakuhachi); Eduardo Cossio (electronics, writing); Luke Cuerel (alto saxophone); Jim Denley (flute, writing); Julia Drouhin (voice, electronics, objects, images); Jameson Feakes (mandolin); Be Gosper (voice, objects); Noemie Huttner-Koros (voice, writing); Lenny Jacobs (percussion); Annette Krebs (amplified string instrument); Annika Moses (voice, images); Josten Myburgh (clarinet, alto saxophone, editing); Dan O’Connor (mastering); Stuart Orchard (guitar, objects, editing); Daisy Sanders (voice, movement).
Spence Messih is an artist living and working on Gadigal land. Their practice speaks broadly to sites of pressure, power structures, materiality, and language, and more specifically about these things in relation to their own trans experience.
Suvani Suri is an artist and researcher based in New Delhi, India. She works with sound, text and intermedia assemblages and has been exploring various modes of transmission such as podcasts, auditory texts, sonic environments, maps, objects, installations, workshops and live interventions. In recent years, her work has been exhibited at Khoj Studios (2014), 4th Kochi-Muziris Biennale (2018), Mumbai Art Room (2018), Sound Reasons Festival VI (2018), Khoj Curatorial Intensive South Asia (2019), Five Million Incidents (2020). Alongside this, she has been teaching at several universities and educational spaces where her pedagogical interests conflate with a critical inquiry into the digital and sonic sensorium.
Thembi Soddell is a sound artist best known for their powerful acousmatic performances and installations in darkness. In 2019 they were awarded a PhD from RMIT University for their practice-based research titled, A Dense Mass of Indecipherable Fear: The Experiential (Non)Narration of Trauma and Madness through Acousmatic Sound. This research developed a novel approach to understanding lived experiences of anxiety, depression and trauma using a medium (abstract sound) with the unique ability to reflect the intangible nature of the inner world.
Thomas Ragnar is an artist based in Singapore. His work is often underpinned by collaborations, affinities and research with experiential methodologies.
Tiarney Miekus is a writer, editor and musician based in Naarm/Melbourne. Her writing has appeared in The Age, Meanjin, The Lifted Brow (Online), Overland, Memo Review, un Magazine, Art Guide Australia, Swampland and RealTime. She is currently editor and podcast producer at Art Guide Australia.
Timmah Ball is a writer and urban researcher of Ballardong Noongar descent. She has written for The Griffith Review, Right Now, Meanjin, Overland, Westerly, Art Guide Australia, Assemble Papers, The Big Issue, The Lifted Brow, the Victorian Writer magazine and won the Westerly Patricia Hackett Prize for writing.
Tina Stefanou born of Sophia and Yorgios Stefanou is a first/second generation Greek-Australian. Emerging from an East Melbourne hospital on 21 November 1986. She is thirty-six years old. Now based on the unceded lands of the Wurundjeri people in Wattle Glen, Victoria. With a background as a vocalist, she works undisciplined, with and across a diverse range of mediums, practices, approaches, and labours: an embodied practice that she calls, 'voice in the expanded field'.
Tobi Maier is the director of Lisbon’s Municipal Galleries, and recently presented Mattin’s Expanding Concert (2019–2023) a four year long concert distributed in time and space through different media: 5 public interventions in 5 different galleries in Lisbon, and 5 texts published within the city.
Tom Melick is the co-editor of Slug and part of the Rosa Press Collective and Stolon Press.
Tom Smith is an artist, musician, writer and researcher. Narrative 001: The Things We Like was created by Tom Smith, with music by Utility/Austin Benjamin.
His work is concerned with the tyranny and poetics of computational systems, the politics of creative economies, emerging digital subjectivities, planetary futures and music as a mode of critical inquiry. He has worked across speculative fiction, video, curatorial projects, live performance, websites, critical writing and electronic music. Thomas produces music as T.Morimoto, is one half of production duo Utility, and runs independent label Sumactrac with Jarred Beeler (DJ Plead) and Jon Watts.
Thomas’ works have been exhibited and/or performed at institutions including the Museum of Contemporary Art (Sydney), Unsound Festival (Poland), National Gallery of Victoria (Melbourne), Fondation Fiminco (Paris), Cashmere Radio (Berlin), Central Academy of Fine Arts (Beijing), Nasjonalmuseet (Oslo), Floating Projects (Hong Kong), Goldsmiths College (London), Firstdraft Gallery (Sydney), Queensland University Art Museum (Brisbane), Alaska Projects (Sydney) and Blindside Gallery (Melbourne). Thomas’ writing has been published in Realtime Magazine, Runway Journal, Un Magazine and Plates Journal.
Tricky Walsh is a non-binary artist working in New Norfolk, Tasmania, who works both collaboratively and in a solo capacity. Their projects focus on both spatial and communication concerns in an increasingly speculative manner and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes.
Trisha Low is a writer living in the East Bay. She is the author of The Compleat Purge (Kenning Editions, 2013) and Socialist Realism (Emily Books/Coffee House Press, 2019).
Uzma Falak is a DAAD doctoral candidate in anthropology at the University of Heidelberg where her work focuses on the intersection of sound, time and violence. Her poetry, essays, and reportage have appeared in publications like Guernica, The Baffler, Adi Magazine, Al Jazeera English, Warscapes, The Caravan and several edited volumes and anthologies. She won an honourable mention in the Society for Humanistic Anthropology’s Ethnographic Poetry Award (2017). Her film, Till Then The Roads Carry Her, exploring Kashmir women’s repertories of resistance, has been screened at the Art Gallery of Guelph (Guelph), University of Copenhagen, University of Warsaw, Karlstorkino (Heidelberg), Tate Modern, and others.
V Barratt is a trans-media artist, researcher, writer, and performer living on Kaurna Yarta, Adelaide.
Victoria Pham is an Australian installation artist, composer, archaeologist and evolutionary biologist. She is a PhD Candidate in Biological Anthropology at the University of Cambridge, holding the Cambridge Trust’s International Scholarship. As a composer she has studied with Carl Vine, Richard Gill, Liza Lim and Thierry Escaich. She is represented by the Australian Music Centre as an Associate Artist.
Winnie Dunn is a Tongan-Australian writer and arts worker from Mt Druitt. She is the general manager of Sweatshop: Western Sydney Literacy Movement and holds a Bachelor of Arts degree from Western Sydney University. Winnie’s work has been published in the HuffPost Australia, The Saturday Paper, Griffith Review, Meanjin Quarterly, SBS Voices and Cordite. She is the editor of several anthologies including Sweatshop Women, The Big Black Thing and Bent Not Broken. Winnie is currently completing her debut novel as the recipient of a 2019 CAL Ignite Grant.
Xen Nhà is a documentary maker and artist with a background in creating intimate dialogues and storytelling across sound, film, and texts. Their work explores the confluence between personal and collective narratives and the cultural politics and responsibility of listening. They are currently living in Melbourne on unceded Wurundjeri Country.
Yan Jun, a musician based in Beijing uses a wide range of materials such as field recording, body, noise and concept. Yan Jun: “I wish I was a piece of field recording.”
Zoe Scoglio’s (often collaborative) practice explores the space of art as a site of study and sociality to engage the radical imagination towards alternative ways of being, knowing and relating. Current research takes critical and collective somatic approaches towards response-ability in these times of ecological collapse, within settler colonial conditions. Past projects have taken place within varied contexts, on top of mountains and under full moons, as large collective choreographies and intimate encounters.
In the speculative music of Corin Ileto, a first glance picture becomes insinuated: technology – fractious and amok; machines – bulbous in their containment, grinding against their housing. As an introduction to her music as a composer, and as the producer called CORIN, this essay hopes to point toward the method of her communication. I’m interested in the nuanced sense that there is a hidden surplus to future-oriented music. As a prominent preoccupation for experimental practice of the last decade, the future in formation has often appeared loudly image-centred. If there is a speakable representation in this music it is an overt one. Its symbols are of a sounding crisis. Its signifiers are a warning of a destructive tendency within present technology; a warning of a borderline future in development today. But certain music operates within a form of concealment. There is a ‘remainder’ to the sound of machines. There is a second layer to the force of representation found outside its critical and destructive references. This layer is everything outside the pictures music might conjure. A surplus feeling of enjoyment. A reason why you can dance to it. Corin’s sonic images have a gentle and human-oriented excess. This unspeakable remainder is also pop. In what follows, Corin’s music will be described from this position of left-over excess, as if there might be a relationship between a future-world and her music which runs through the listener insatiable, struggling against submitting itself to identification, this excess resisting a form which can easily be named, and yet this surplus also being the most worm-like melody, the most overtly emotional and euphoric quality which reaches the ear.
It has been mentioned that Corin makes music which distinguishes itself precisely because of the serious force of its pop sensibility. Melodies, trance-esque, immediately classic. A horizontal midi which is exquisitely additive and perfectly recognisable to the language of both the 1990s and today. Beneath the tune is the representative force of her music’s texture. In title and sound, 2019’s Manifest (Bedouin Records) describes an impending moment. If this is a manifestation of a coming tomorrow, oracular and sought, its operation is both celebration and warning. Track 1, ‘Manifest’ introduces texture cradled in its serrate form. This toothed edge is sharp but brittle. Beneath a delicate surface: drum programming is almost ornate in its demonstrated control of the force of its energy and release. Corin carves beat-driven moments which build as good as any big room producer. Behind each release there is a plunge of big-room lead synth in which sculpted white noise rises before its tailing boom. A forewarning of this music’s speakable action: a mechanical crunch, unexpected, trailed by sprinkled artefact, blue refulgence from a machine’s on-button, and then a corona of digital blush, like the effect when you squint your eyes at a light, and the resulting glow becomes striated. The complete control of this effect marks Corin’s work. In tracks like ‘Ingest’, a synthesis of future machinery is provided: jets, helicopters, luxury air-conditioners on the side of glass towers. Through the use of these referential sounds, combined into one material, Corin’s granulated warblings conjure images of a critically damaged world, a world ruined by its own technological invention. Many writers of sound have been engrossed in the description of similar ‘cyber’ (punk) imaginaries. In More Brilliant than the Sun, Kodwo Eshun announces: ‘You are not censors but sensors, not aesthetes but kinaesthetes. You are sensationalists. You are the newest mutants incubated in womb-speakers. Your mother, your first sound. The bedroom, the party, the dance floor, the rave: these are the labs where the 21st C nervous systems assemble themselves, the matrices of the Futurhythmachinic Discontinuum. The future is a much better guide to the present than the past.’1 But what does ‘machine music’, ‘cyberpunk’, say about the future today? Does it still ask what it would be like to move with sound during the end times? Why is it so satisfying, at this present moment, to dance to such a darkly sparkling image? Is trance the preeminent musical referent of this coming feeling of unavoidable digital entwinement?
Kodwo Eshun, More Brilliant than the Sun (London: Quartet Books, 1998), 1. ↩
I think of a line by Benjamin Noys, ‘Apocalyptic desires are ambiguous: at once consolatory fantasies, deferred hopes, and, potentially, spurs to radical re-orderings.’1 And then another by Emil Cioran, ‘Music is the physics of tears.’2 In music which deals with and speaks through its own crisis, there is the possibility that the effect it conjures in a listener is a heightening of the fantasy of that which it attempts to critique. Like a powerful but ambiguous mirror. Exacerbated by the surplus energy beneath such machinic signifiers, music has the ability to make you cry. But what kind of tears, deep feelings, and revelling should be reflected in the face of catastrophe? I’d wager, a very particular and pointed set of feelings which inspire resistance. Mark Fisher warns, ‘Be careful what you’re saying. Every word you speak is a geological event at the level of plate tectonics. Not a speech-act, but a seismic reverberation.’3 When music speaks through ‘dark’ representation, in my opinion, it needs to offer an alternative set of referents, in words or in sounds. Corin expresses this alternative in intricate, life-filled instrumental technique. Beautiful, hopeful melody in ‘Refracted’ closes the crisis-driven album Manifest. I think of the quip: ‘music speaks for itself’. It shouldn’t. The player of the music speaks through it. Corin performed on stage for many years with the same HA76 Nord Stage Keyboard. Reverb on tracks came from the physical knob on this keyboard. The ‘speakable’ alternative to technological catastrophe is offered through technological companionship. Real fingers playing moving melodies on plastic keys.
This connects to some of my initial ideas surrounding my live performance set up. I was influenced by the live performances of pioneer electro-pop acts Kraftwerk and Yellow Magic Orchestra. I think there is a euphoric optimism in how the man-machine dichotomy operates in this performance setting, with the complete synchronicity of human bodies and synth melodies. I wanted to reference that nostalgia — not necessarily that era of music but the ideas behind it, which to me is ultimately a utopian vision of the future.
Benjamin Noys, ‘Apocalypse, Tendency, Crisis’, Mute 2, no. 15 (2010), https://www.metamute.org/editorial/articles/apocalypse-tendency-crisis. ↩
Unattributable paraphrase of Cioran who quotes Nietzsche’s Ecce Homo: ‘I cannot differentiate between tears and music.’ Emil M. Cioran, Tears and Saints (Chicago: University of Chicago, 1998). ↩
Mark Fisher, White Magic, archived by Critcrim, 2004, https://www.critcrim.org/redfeather/journal-pomocrim/vol-6-virtual/whitemagic.htm. ↩
When a sound enchants its listener with a series of representatively clear images — machines, wires, steel, circuits, electrified blueness — the less-discussed analysis considers what is lost in the creation of these sonic materials. What is the surplus? The leftovers? The unspeakable sensation which resists a picture? For me, this surplus is pop. Try and describe a pop melody in a series of pictures. Okay… try and speak about the effect of hearing an uplifting, helium-filled arpeggiator from trance’s heyday. There must be an image which resonates at the heart of the life-full feeling this sound taps into. Corin takes a short musical moment, a kitsch anthem, a pop goldilocks, and uncoils it in time so that it is disrupted and stretched, as if it were coming from a sounding future. Corin takes a sonic fragment and delays its satisfaction. In this formulation, although imprecise: (1) the mechanical sound is the future representation, the sound of the mechanism which gurgles underground, watering-well like, deeply resonant; and (2) the pop melody is the sacrificed referent which enables the representation to function in the very first instance. If this future comes to be, when the machine takes over, what is lost? Is it the sacrifice of that heartfelt dear feeling of a pop melody, of trance euphoria?
Listen to Corin’s 2017 track ‘fatal redemption’. There is a main melody, pop genius, dotted and pockmarked with warped percussion; unexpectedly voiced, as if teary-eyed. There is a synth, hard-pressed to be more spectrally solid, played by the monster in the metal. What remains around it is the smallest band for the double kick drum and the space which might have once allowed room for an echoing MC chanting, ‘more!’, ‘good-morning!’, or ‘wake-up!’ The force of the track is found in this synth texture. A moment of nostalgic rebirth from around 2012, when a new satisfaction was found in once tired 1990s aesthetics. But no sound or technology is politically neutral or historically fixed, especially when decoupled from its origin. The recapitulation of this aesthetic is dominated by a particular synth sound which was invented during a time of oil, cellophane, and burning pipelines, on the back of the Vietnam War, when an early computer called ‘Igloo White’1 was charged with predicting and indiscriminately bombing the footfall of the North Vietnamese. A chain of technological developments can be traced from the violent birth of a discipline called cybernetics, to the digital audio workstation (DAW).2 Historian of this moment, Paul N Edwards, describes computers which make ‘the closed world work simultaneously as technology, as political system, and as ideological mirage.’3 That trance synth sound,4 its ideological essence, once might have evoked all that signification within it, even in the field, in the rave, and the early days of jungle. Kodwo Eshun writes of this era: ‘Far from needing theory’s help, music today is already more conceptual than at any point this century, pregnant with thoughtprobes waiting to be activated, switched on, misused.’ And, ‘for once: music is encouraged in its despotic drive to crumple chronology like an empty bag of crisps, to eclipse reality in its wilful exorbitance, to put out the sun.’5 A romantic might say that history remains audible in technology. Can a zoomer hear it? The culture rolls on, the same synth arpeggiates in the foreground of a Marshmello billion view banger titled ‘Alone’. The desire to listen to the euphoria of this historically destructive invention blasts from the headphones on the head which lies in joy, late at night, on the teen’s bed, parents asleep, tracking the words: ‘I’m so alone, nothing feels like home’…unless… the track suggests, alone unless I’m listening to this tune. What’s that feeling, deep in my chest, when I listen to Corin’s work from the 2010’s? Tracks like ‘Enmity’ from the 2017 compilation SECRET SONGS FOR YOU </3, tracks amongst contemporary legends of the subculture, such as Ssaliva and SKY H1, music like ‘Hydraulis’ from the High Heal’s compilation Void? What’s the emotional tenor of all this music? Why is it so deeply joyous, irresponsible, as if its bodily effect — the beating heart and miter gears in arms and legs all welded and steaming — causes two or more heads music shapen in the arpeggio to feel the same thing, wholly connected, listening to one song at the same time. Music’s force: two listening individuals can become linked. There’s no doubt this feeling is important, and should be revelled in. The historical progress from blood-let computation to Fortnite dance isn’t unmentionable. Everyone uses a synth differently, but how does Corin acknowledge the historical precedent of computer music?
Paul N. Edwards, The Closed World: Computers and the Politics of Discourse in Cold War America (Cambridge: MIT Press, 1996). ↩
Paul A Erickson, The World the Game Theorists Made; Pamela M. Lee, Think Tank Aesthetics: Midcentury Modernism, the Cold War, and the Neoliberal Present; S. M. Amadae, Rationalizing Capitalist Democracy: The Cold War Origins of Rational Choice Liberalism; or Philip Mirowski’s Machine Dreams Economics Becomes a Cyborg Science. ↩
Paul N. Edwards, The Closed World, 23. ↩
Corin mentions the following early points of personal reference: Pablo Gargano, ‘Everyone’s Future’ and Vana Imago, ‘Antitesi’. ↩
Kodwo Eshun, More Brilliant than the Sun, 00[-003]. ↩
I’d like to ask you about the sense that a computer, as an instrument, can be a companion, or more pointedly, that a sound made on a computer can be your companion? I’m thinking about this in two ways, firstly, in the way that a piano might be said to be a pianist’s friend, and secondly, in the way that a listener might look to music and computer music to be a source of companionship during times of aloneness.Corin Ileto
My live performance has always been an important part of my artistic expression and identity as a musician. I come from a background in classical piano, so when I started producing electronic music in 2013, it felt natural to use the keyboard as the central component of my set. I bought a HA76 Nord Stage, and used it so heavily that it became its own entity, I guess in some ways a companion. I thought of the synth melodies as the main ‘voice’ in my productions, so it made sense to bring this element to life in my live set.
Within the context of music, I used to think of an instrument as the closest thing to a physical entity, however nowadays, I tend to think of the physicality of sound in relation to sound design. Through my work designing sound for experimental theatre productions, I started to think more about the physicality of a sound source and its effect on the listener/audience. Last year, during lockdown when I wasn’t performing as much, I started to think about how I could recreate the physicality or movement of my live performance without relying on my body so much to communicate that idea. Naturally, I became more invested in the sound design of my productions, which I think in some ways is more challenging, or at least more of an unfamiliar territory to me. I like to imagine sound as an entity moving through space, like a sentient being with sensors and emotions.
Through sound design we can also recreate or reimagine the architecture of spaces, transporting us to another time or place. In this sense music offers us companionship in times of solitude — returning us to familiar places through a sense of nostalgia, or an escapism to uncharted imaginary realms.
Returning to cataloguing Corin’s work, some final words on Manifest should be offered. This album seems to mark a complication within the dualism offered thus far: machine and melody. My favourite track is ‘Maria’s Dream’. It grants the listener two lines: one walking bassline, the other a refigured song reminiscent of an early 2000s video game, say Secret of Mana. The track is an early moment where I identify a sense of composition occurring from within a different imaginative musical space. The speakable reference, the image it offers the listener, is perhaps a fantasy, and less so, a future. A conceptual break from ‘future-oriented’, to ‘world-building’ might be signposted. This track is inhabited by an early instance of the musical creatures which will dominate Corin’s later work. Tiny musical organisms which are expressed via horizontal melody, in four bar additions, building until the sound is a critter’s visage, first in dream and then in states half-wakeful. As the pattern bores in, the compositional trajectory toward Corin’s 2021 album Enantiodromia (UIQ) becomes clearer. Corin writes the following of Enantiodromia’s origin:
I was meditating on the current world climate and came to embrace the idea of impermanence. The idea that everything is suspended and in flux a state of constant change. When something reaches its extreme it materialises into its opposing shadow. Everything hidden comes to the fore. 1
Corin Ileto, ‘Biography’, Resident Advisor, 2021, https://ra.co/dj/corin/biography. ↩
I opened this essay with the suggestion that there is a hidden surplus to this music. Materially, considering what Corin calls her own form of sonic alchemy, the substance added in Enantiodromia is a sense of a speculative future, world-built, which operates as a fantasy, and less-so as a potential reality. Instead of a mirror to crises of the present, Corin presents us with a hammer to build something new. The quality of the representation is overshadowed by what is soft and unspeakable, the hidden surplus no longer hidden. Near-real instruments appear on tracks like ‘Ex Nilalang’, physically modelled percussion that references South East Asian diasporas, with gamelan samples, and textures exploring Corin’s own cultural background as a Filipina-Australian. Genre reference functions differently than in her earlier work. This is because the music’s speculation is operating in an idiosyncratic world, one we haven’t fully experienced, and are now being introduced to musically.1 Between IDM, EBM, grime, and trance, the EP takes on its own informal quality. By the track called ‘Mnemosyne’, the music is operating in its own unrecognisable territory. The rhythmic invention is without solid referent.
Corin describes a few new genre references: Gabber Modus Operandi, ‘Trance Adiluhunxxx’ and Sote, ‘Trans force’. ↩
Identifying this development, the observer can hear that Corin’s collaborative works have been formative to her own solo sound. In Carrion (2017) and Aeon† (2020) Corin’s compositions accompany near-mythical performances by Justin Shoulder in which he moves alongside (and inside) handmade puppetry and costuming. These creations are part bodily containment, part amorphous automated cloth. Shoulder’s prehistoric bird, virus, or globular entity is accompanied by a different side of Corin’s compositional talent. Baroque midi, slowly unwinding, intricately paced, folly filled, turns in an instant to ashen beat. The Filipinx Futurism which Shoulder espouses is aided by Corin’s musical vision. In Aeon†, there is a fusion of Filipinx myth with queer pageantry, a homunculus, an organic birth, part volcano, part beating critter. Corin’s music begins to speak like the creature on stage, vacillating between solid and liquid, motion filled and processed matter, pressed into an unstable form.
In Sky Blue Mythic (2021), performed at the Sydney Opera House, Corin and dancer choreographer Angela Goh challenge ‘the arbitrary forms and expressions that structure our worlds’ by exposing the slips and glitches which open up new forms of expression by way of commenting on the non-slipped whole.1 The theme of mediation, of interface, that needs to be highlighted in Corin’s music is that sound can make comment on a formative process: hidden beauty in interfacial error. When Angela Goh, standing on stage, opens her mouth, the choir sings. Blocked-out chords and time-stretched harpsichord sounds. Goh reaches into her pocket and pulls out a small object. The camera zoom reveals what is in the middle of her palm: a tiny crystal. It sparkles. The sound from that moment is whirlpool, operatic, doubling in division, energy, and rhythmic grouping.
I ask Corin about the effect and use of a form of sound-making called ‘granular synthesis’(cutting up, poking holes within, and rearranging tiny ‘grains’ of sound). Its temporal effect is both futuristic and fantastical, unheard in nature, yet cloud-like. In Sky Blue Mythic, the tears and the slips which hope to expose a latent ‘structure’ in the world, seem to be Mickey-Moused by the substance of this synthesis technique.
Keith Gallasch, ‘Sky Blue Mythic: Angela Goh’s fantastical myth-making’, Realtime, 26 July 2021, https://www.realtime.org.au/sky-blue-mythic-angela-gohs-fantastical-myth-making/ ↩
Over the past year, I’ve become more interested in granular synthesis. It’s not as visible in my current work but there will be some future releases which use this technique. I also used it in the score for Angela Goh’s performance work, Sky Blue Mythic.
My fascination emerged, in part, from my general interest in microtonality. When I studied twentieth century music at university, I remember coming across a beautiful string piece called ‘Anahit’ (1965) by Scelsi. Although it’s acoustic instrumentation, the microtonal oscillations and slow bending of pitch creates an illusion of time and space collapsing, which is so futuristic to me. I think compositional techniques like this really correspond to early developments in electronic music, and that granular synthesis is a part of the family of microtonality, except you are working with samples and the microsound timescale.EF
Do you think, as a listener, that when you hear granular synthesis you imagine something in the holes that perforate the thing which was once solid?CI
Yes, there are so many interesting ways to visualise it. I tend to imagine it as a spectral cloud — a sample evaporating into molecular grains, whirling around itself. The relationship of the sound to the space is what I find interesting, especially if you think of it as something that is vaporizing, or evaporating into air. It’s transformative, like a type of sonic alchemy.
Within such evaporation, the preparation to engage with a collection of work made over a burgeoning career sees a listener at home, perhaps in their room, revisiting sound from the perspective of a child, eyes closed, pinioned, trying to hear scenes from the moment this music was made and the effect it conjured, in the past, in other spaces. Now that this collection is all here as a series of links, each one to click and to listen to once more, in the same room in which the listener lives, the big room sound, the booming one, or the mechanical sound which must have been performed to a large audience of admirers, in the dark, is now a small sound coming out of two laptop speakers, where the machine rests upon a bed, and sheets and blankets which threaten to muffle its perforated grills, offer soft favours. In the morning, when the listener wakes up to weather reports of snow at higher elevations, the music can be retreated into once more. The music is warming, cloth around shoulders, sound weightless on updrafts from the space heater, and the content of a new album, Araw (Heavy Machinery Records), can be a surprise, akin to finding small flowers beyond the tree line. Corin’s latest work, near edgeless and smooth, soothes and imbibes what Corin says is music dedicated to those experiencing grief or loss. More broadly speaking, collectively, on a large scale (a scale that music seems always to unexpectedly capture), if there is grief at present, what has been lost, or felt to have been? After the isolation of the last two years, what comment can music make in response to the tragedy of the present, and its accompanying, crushing feeling of an irredeemable future? As so many theorists of hauntology have noted, the debilitating penance of this feeling of ‘no-future’ needs a desperate creative antidote. Without overstating its significance, through this lens, Araw offers a small moment of respite.
About Araw, Nico Callaghan accurately writes of ‘these impeccable constructions’ which ‘reveal a side of Corin’s composition and production abilities often hinted at, though less often deployed’.1 Araw seems to suggest the possibility of a soft expression of loss, when so much of the production in this scene of experimental electronic music and left-field club music from the last decade, has centred on an expression of present anguish transmuted, like fullmetal, to euphoria through loudness. The trajectory of the big-sound accompanies the bathos that it perhaps will never again be that big. The small sound on the other hand, which was small to begin with, is still perhaps as wonderful as it ever was. When heard as respite, the concentration of its force is plosive because the air which cannot be heard is too quiet, or too undefined, thus giving the listener a chance to imagine audio. The trajectory, if there is one to be forced upon this essay in the development of Corin Ileto’s work, might be said to be a confidence in the expression of what was once outwardly big, to now inwardly small. In Araw, and Corin’s anticipated full-length album, I hear small figurines composed of dust. Strands of cobweb floss. Sound which helps the listener to imagine audio in its own gaps. Sound where quiet energy becomes a panoply for care. In the gap which passes between left and right as sculpted white noise, or the place a loud kick might have once operated, Corin’s latest work replaces this energy with the barest artefact of its original vigour. Something that shines palely. Something that rises, continually in pitch, gossamers represented in tin-noise, musical notes floating up always.
Nico Callaghan, ‘Program Note’, Araw, 2021. ↩
Author of Hearing the Cloud (Zero Books), Emile Frankel is a writer and composer researching the changing conditions of online listening. In his spare time he runs the science fiction and critical fantasy publisher Formling.
The editors would like to thank Corin Ileto and Emile Frankel for their generosity in developing this profile and Casey Jones for her editorial support.