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.
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.
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.
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.
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.
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.
Thomas Ragnar is an artist based in Singapore. His work is often underpinned by collaborations, affinities and research with experiential methodologies.
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.
Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Lucreccia Quintanilla is an artist, writer, DJ and PhD candidate researcher 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, and has taught at university level.
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.
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?.
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.
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.
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.
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.
Andrew Fedorovitch is compos mentis. Andrew Fedorovitch embodies professionalism in every aspect of his life, including music.
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.
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.
Alexandra Spence is an 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/music in Australia, Asia, Europe, and North America including Vancouver Art Gallery; BBC Radio 3 & 4; Ausland, Berlin; Museo Reina Sofia, Madrid; Sound Forms Festival, HK; MCA ARTBAR, Firstdraft Gallery, and Liveworks Festival, with Liquid Architecture, Sydney. And she has released her work with labels Room40, Longform Editions, More Mars (with MP Hopkins) and Canti Magnetici.
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.
Joel Stern is a researcher, curator, and artist living in Naarm / Melbourne, Australia, and a Vice Chancellor’s Postdoctoral Fellow in DSC in the School of Media & Communication, RMIT. With a background in experimental music, Stern’s work focuses on practices of sound and listening and how these shape our contemporary worlds.
Between 2013 and 2022, Stern was Artistic Director of Liquid Architecture, leading the organising and developing artistic research projects such as Eavesdropping, Machine Listening, Polyphonic Social, Why Listen?, Instrument Builders Project, and Ritual Community Music. He is an editorial associate of Disclaimer journal.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Elena Biserna is a scholar and independent curator based in Marseille (France), working at the intersection of social, political and public spheres.
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.
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.
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.
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.
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.
Kengné Téguia is a Black Deaf HIV+ cyborg artist, who works from sound deafinitely. #TheBLACKRevolutionwillbeDEAFinitelyLoud
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.
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.
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.
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.
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.
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.
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.
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.
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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.
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.
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.
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.
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.
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.
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.
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'.
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.
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.
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.
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).
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.”
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.
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.
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.
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.
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.
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.
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.
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.'
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.
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.
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.
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).
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
Philip Brophy writes on music, among other things.
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.
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.
Dr. Lawrence Abu Hamdan
Internationally Known Private Ear
Serving Industries of Culture Since 2007
Licensed & Bonded: Goldsmiths College, University of London
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Bureaus: Beirut, Berlin, Dubai, London
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.
Emma Ramsay is active across experimental dance and DIY music; sound performance; and other text collaborations. She works in community media and archives.
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.
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).
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.
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).
Sound Mastering: Casey Rice is an audio doula living and practicing on Djaara Country/Castlemaine, Victoria.
Ander Rennick is a graphic artist based in Melbourne interested in the fetishisation of editorial, pedagogical, pornographic and mimetic commodities.
V Barratt is a trans-media artist, researcher, writer, and performer living on Kaurna Yarta, Adelaide.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Snack Syndicate, two rats (Andrew Brooks and Astrid Lorange) living on unceded Wangal land; texts, objects, events, meals, and publics.
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.
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-four 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'.
Tom Melick is the co-editor of Slug and part of the Rosa Press Collective and Stolon Press.
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).
It is an overcast day in Wollongong NSW: a region whose name is thought to derive from the Wodi Wodi word, Woolyungah — translating to ‘five islands’. I had spent the previous hour walking along the beach, struggling to hear my own thoughts over the inhospitable scourge of wind and waves. I was about to meet the artist and vocalist, Sonya Holowell, who, after living in the hot-smoke of the inner city for most of her life, moved back to live on the traditional lands of her ancestors — where her extended family live — to experience a reciprocity of care in returning to Country.
Turning to the perimeter of the beach – away from the Port Kembla Steelworks – the scene transposed to a long stretch of compressed artificial green, marking the perimeter of the golf course across the sand dune and extending around the hardened love-handles of old holiday hotels. The golf course appears like a synesthetic overgarment, lacing the worlds of managers, ex-school teachers, and the petit bourgeois, all liaising in excess and leisure across a sprawling image of a world oblivious to its eventual demise at the hands of the ever-rising nausea.
Such is Wollongong: home to the traditional owners of the Dharawal nation and framed by sprawling mountain vistas and the fertility of the Southern Highlands. A place sheltered in post-industrial twilight, which casts shadows around its identity as a holiday destination, a university town that is populated with churches of various denominations, such as the Nan Tien Temple. This is a complex populace composed of proud First Nations people, the lingering ghosts of colonialists, communists, and trade unionists – spliced with Sunday painters; the Capitalocentric moloch(s) of industry; affluent baby boomers; African and European migrants; listless multi-ethnic working-class youths; and not to mention small to medium-business owners…
A bulbous, new beetle car pulls up to me. I see the driver’s knowing smile. The door closes, and I go to speak, but am immediately subsumed by the noise: tessellating arpeggios; deep stuttering bass, and time-stretched voices. All skirting along a perpetually dilating beat, extending into a haptic void…of ‘unique, lost paradises for dancing-oases, other worlds and fantasy landscapes constructed within the shells of industrial capitalism’1 engulfing us as the deep EQ swept across windscreen wipers clearing, pelts and lines of grey, moulding rain.
Chris Gibson, ‘Subversive sites: rave culture, spatial politics and the internet in Sydney, Australia,’ Area 31, no. 1 (1999), 21. ↩
The vocalist and artist Sonya Holowell possesses an artistic oeuvre which is difficult to apprehend in one sitting. Her practice could be described as anarchic, yet in the same breath: restrained and disciplined. What she does is undeniably relational, flattening, and constellatory – composed of complex and sometimes seemingly incongruent and dislocated parts, spreading out across various styles, traditions, technologies, and practices. Almost always guided by the apparatus of the uttered and sung voice, whose technique betrays shades of the pedagogical discipline engendered by her Western art-music training. While, at the same time, perpetually diverting and darting to the less-disciplined strains of the post-1960s avant garde and through to complex free-improvatory continuums of phonetic manipulation, fleshy-semantics, across spectrums of melody and noise.
For Sonya — a woman of Dharawal/Inuit descent — there is always a deep understanding of how the sonic is unequivocally social, of dadirri. Her practice springs from a deep respect for what others have to offer. She selflessly volunteers her time to help friends and their projects (often with little to no funding). In this way, she has been an incidental mentor for so many. She is wary of the neo-colonial tendencies of Western art music and is thus deeply invested in accelerating both representative as well as socioeconomic change — beyond the aesthetic, neoliberal ‘updating’ of those conservative and anachronistic rituals of structures of exclusion — which overlaps with a keen advocacy for marginalised folk.
Sonya has also worked in a curatorial faculty, having facilitated, and commissioned the work of many emerging artists through ADSR Zine and the Now Now Festival, among work with Aboriginal youth. Her socialism in this capacity extends from her Christian faith (biblical parables often line the bottom of her emails), rather than the typical (and expected) undergraduate route of post-Marxist dialectics.
This care-full approach and stylistic fluidity may well be the reason why Sonya is a treasured matriarch of Sydney’s classical, new-music, and avant garde cultures. She has collaborated with probably nearly everyone: from art-music ensembles (Decibel, Ensemble Offspring, Australian Art Orchestra) and string-quartets; operatic ensembles and choirs; through to improvised groups such as Polymorphic Orkestra and The Splinter Orchestra; as well as the quasi-cyber-punk, voice and synth project Sumn Conduit, founded with fellow composer Ben Carey. Other ventures include works across installation; experimental film (with Oliver Beer) and performance (agit-prop group Chicks on Speed); sonic cartographies (the Danger/Dancer project) among her contributions as a guest vocalist for Middle Eastern jazz fusion group Eishan Ensemble.
In recent years, Sonya has become increasingly recognised for her heterogeneous and nuanced approach to vocal comprovisation which also coalesces into scored and writing activities seeking to (il)legibly integrate what can never be whole in the trauma’d body. She tells me that her love of exploring the potential of the voice springs from deep, familial roots – having been surrounded by improvisation from a young age (albeit she didn’t explore her vocal acuity in the way ‘she does now’ until much later). She muses: ‘it runs in the blood,’ as her maternal grandfather — a Dhawaral/Inuit man — is a Jazz pianist who for many years worked for the Port Kembla Steelworks. On the other side, her paternal grandfather is a pastor and pianist, captivated by liturgical music from the past through to the present. Her father, Jonathan, is a pianist and improviser — whom Sonya collaboratively released an album with entitled Smoke Signals (2017) under the moniker ‘Holowell’ – a project marked by its Jarett-esque harmonies and modal utterances. In her words, this ‘inevitable collaboration’ is driven by ‘playing and philosophising’ together and ‘has been treasured and guiding for [me].’ She reflects that she and her father ‘speak the same language,’ so-to-speak, ‘co-experiencing in aspects of process, and sharing similar leanings towards melody, tone, transfiguration, and translation.
…upon cycles of hissing, burning, tumbling – sounding out historical and contemporaneous reverberations of those cracking backs of workers straining their knees, bones, and flesh for (re)production – earnestly removing the impurities of silicon, sulphur, and phosphorus from the aspirant steel. Evanescent work-energy to be exported around the world to infrastructures that only really served to further incur the Greater ecological debt…
Beyond these couplings, the task of extrapolating Sonya’s nebulous practice is a potentially delirious undertaking. It is clear that there are some integral moments that led to the forma(n)tion of Sonya’s vocal dynamism, including: the co-founding of the CACHE in POINT concert series project, which was in tandem with a long-term affiliation with Sydney’s Splinter Orchestra.
Established in 2011 by Sonya, and flutist and designer Elia Bosshard (both undergraduates at UNSW) the CACHE in POINT collaboration ‘exposed [Sonya] to all kinds of new music’. As a project, it arose from both artists’ interest in the politics and poetics of space – stemming from a desire to spatially reframe esoteric and technically challenging repertoire to render them more accessible, and/or participatory. Performances included angular Expressionist works such as Arnold Shoenberg’s Pierrot Lunaire (1912), among pieces by Iannis Xenakis and György Kurtag (in tandem with new premieres). Albeit both would probably agree that it was the 2017, Sydney Fringe performance of Three Voices (1982) by New York School composer Morton Feldman — for which they won the Spirit of Fringe Award — which marked the high-water mark of their collaboration, that was in part due to Elia’s experimental stage design, comprising a hand-strung temporary architecture made from thousands of parallel, glistening threads of fishing wire.
Three Voices calls for a sole female vocalist to sing against two pre-recorded vocal parts, marked by repetitive, minutely-shifting poly-rhythmic permutations that take place across a forty-five to ninety-minute duration. There is undeniably a serious rigor necessitated to perform a piece of this calibre. Sonya remarks that, not only is this ‘marathon work’ corporeally demanding (she had to mark places on the score to designate when she could gulp and reset), but there is also a psychological extraction involved, because performing Three Voices can induce a type of dissociative, ‘yet highly focused state’ — in other words, a type of portioning of, or splitting of the psyche — via a slow, and painful process of attempting to create (a)rhythmic unity amidst the pressure of collapse, divergence, and irruption.
In this capacity, we can read Three Voices as a work that performatively (and efficaciously) renders apparent the multitudinous nature of subjectivity. In some capacity, Sonya admits she was drawn to the work in this way ‘because of the way [she] is structured.’ When I listen to Sonya’s performance, I recall the indexing trails of what Jung might call the shadow, or what Lacan might refer to as the imaginary counterpart (how do we know ourselves unless our shoulders are queered to the wheel?)1 as an unconscious flow among and in between conscious ones. Of a static, yet hocketed-weaving of half-somnambulant lines – aurally analogous to the elaborate, hand-woven tapestries of Coptic rugs, which Feldman was obsessed with. There is likewise a convergent quality to Sonya’s manner of vocal performance, which implicates a porous and heightened beyond-everyday schema – tempering how much of the messy and veiled self to reveal; a process aesthetically mediated through a rhythmic matrix of composure and control (all at triple pianissimo).
To evoke the poem A Supermarket in California (1956) by Allen Ginsberg. ↩
Considering the way in which Three Voices might whisper: the multitude, the Splinter Orchestra unapologetically strives to model this social configuration explicitly. Founded in 2002 by Clare Cooper and Clayton Thomas, this Sydney-based group of quasi-theological sonic nomads is renowned for their novel approach to group-based, rhizomatic co-composition – often incorporating sound makers with little to no ‘training’. Sonya’s work with this group impelled her to question the very quasi-totalitarian composer-performer dualisms demanded by works such as those explored through the CACHE in POINT project, and Three Voices.1 As Sonya divulges, the democratically motivated project provided the nurturing micro-community for her to listen through and be part of the chorus. This allowed her to take the tentative steps of exploring the sonic limits and uncanny capabilities of her musical palette, within the sheltering corpus of the ensemble. Having known her work for many years, perhaps this process also provided an avenue for Sonya — alike to other alterior sound makers — to further ‘fugitively listen’ (to modulate a concept by Andrew Brooks2) to the so-called ‘I’ within the unstable, and fragmented self-as-body-as-minor subject(s); a quality which we hear in her later improvisatory work.
Adjacent to this brazening sensation, was the image of the fiery, Mordor-like furnace of the Port Kembla Steelworks, violently swallowing up the sand as it materialised by the far end of the beach. A post-industrial, come-uppance of impenetrable supportive frames, among bundles of weathered steel towers from which an ebullience of silver-laced and artificial clouds perpetually refuge from the burning of steel-tempering coal below…
Without doubt, the aforementioned sonic experiences expanded Sonya’s artistic aperture beyond the initial conviction that her undergraduate classical voice training would ‘lead her into a career in… opera?’ Yet, this cartography is incomplete without considering the always-latent of what nearly every creative practitioner does. For depending on what side of the cultural homology you sit, there is a tendency lurking within the subliminal of Sonya’s acoustemology, manifest in a deep and cryptic love of rave culture, and bass-driven music (electronica and metal alike). She has, in fact, been privately producing electronic music for the longest time, working and re-working many of the same unreleased electronic tracks for fifteen years or so:
It’s a sacred, private space — a type of meditation, where the songs are continually transformed, never reaching a fixed finality. I think they might, one day. I’ve forgotten what it feels like to start making tracks ‘from scratch’…!
As someone who danced in the hedonistic twilight of Sydney’s rave culture ‘back in the day’, Sonya fondly reflects on a time that cannot be replicated, of the larger, sub-spectacle events such as Utopia in Sydney’s Domain. Interestingly, before attending university, Sonya spent some years gaining accreditation at Ultimo TAFE — graduating with an advanced diploma in electronic music production. Recently, she is trying to get back to these basics (albeit, ‘she’s never really left’) by re-integrating some of this influence by transcribing or re-composing some of her unreleased electronic works for Western-art ensembles — reframing them within what some would consider culturally inverse settings — a recent commission with the JACK Quartet betrays this process. Another collaboration with artist James Newitt reveals a similar, transpositional yearning by drawing on her adjacent electronic music processes: a splintered score composed of messy voicings, frail field recordings, and fragments of her father playing piano. What emerges is an attempt to mitigate the risk of finding comfort in a ‘(necessarily) consistent, or (too) familiar’ body of work.
It is from said nexus (or trinity) of sonic modalities that Sonya’s vocal practice finds its affective feedback(s) across the various approaches and spaces in which she has performed and occupied. Activities of this variety include exploring how the voice can uncover hidden capacities and geometries of contested Sydney sites that are under threat from gentrification in the Danger/Dancer project (which Sonya and myself founded in 2020), to participating in multiple Splinter Orchestra performances at places like Lake Mungo National Park (2017) and Bundanon Trust (2017). Not to mention, a playfulness in exploring those uncanny oralities of socio-sonic (re)production, such as in the 2018 performance work by artist Oliver Beer entitled Composition for Mouths (Songs My Mother Taught Me), wherein both Sonya and Alyx Dennison reciprocally sung into one another’s mouths.
It is in these myriad capacities that Sonya’s collaboratively-driven and enquiring sonic practice can be situated as one which embodies an extended ethos of rave, as Chris Gibson describes:
A central tenet of the ‘mythology’ of rave culture involves fluid, transient appropriations of material space, agendas that rely on evading spatial fixity, in avoiding the ‘closure’ associated with many other now-conventional music industry tropes.1
To conceive of rave — and Sonya’s practice by proxy — is to countenance a type of spatial, social, and ethical practice. An ontology concerned with the magical sonic reconfiguring of space(s) and imaginaries under the gridded deadlock of late-stage capitalist urbanism that subsists in quivering and bodily (in) commons (of being just enough in being-together) — reverberating widely with the many (folds).
The exploration of voci multiplicity (as a consequence of nomadic raving) is something which is critical to Sonya’s improvisatory practice. She views her raving-ness as ‘a sense of restlessness’ emerging from a complex psychogenic constitution manifest in simultaneous activity across multiple perimeters…a desire to not stagnate too long in one locale, one voice, gimmick, idiom, or body; as there are always those other parts that ought to be nurtured, expressed, invoked, and called out. It was at a 2019 performance with Maori dancer Victoria Hunt that I initially witnessed what Sonya meant by this approach:
…arriving at the old horse stable located at the USYD Veterinarian Hospital that night, the audience lined the deck above, akin to the student veterinarians some generations before. Sonya stood with us, projecting her unamplified voice into the pit below… unassumingly, almost serenely like a warm up – before things began to rapidly divert, pivoting from church-modal melody, blearied nodal sine waves, crackling through the surface of glottal half-phrases – amiss with meaty heaves, groans, and squeaks…We did not mourn the little death of the mellifluous, legato articulation attendant to ‘singing’ as it turned malignant, erupted with the fissures, and bound-up intensities that malaise in the gravelly, adenoidal subdermal…The classically-trained singer faced interjection by the suppressed raver desperately seeking to establish new or updated musical codes, wherever a situation permits (and sometimes failing at this) – yet always racing towards the thick edge of virtual and fluctuating horizon cast by the heightened ritual-assemblage of mouth-limb-legs-wood-site-memory – of a severing of the animative ‘ventriloquism’ between voice and (vegetative) flesh as Zizek might put it.3 A fucked-up-cadence not merely accompanying, but dissecting through the haze of the Butoh-trained dancer as they moved around the stable… a slam; their heaving body clinging to the side of the circular construction; meeting the singer and then collapsing again…dissolving into the concrete ground, a physicalised sigh, bound by an acoustic acknowledgment of a relationality we had all forgotten.
Through the tremor of these impressions, I am brought back to some of the performances by Sonya and Ben Carey’s voice and synth duo: Sumn Conduit. When listening to works such as Pyrolysis (2021) we once again hear the emergence of raving vocalised possibilities, beyond the socio-sonic stratifications attendant to colonially codified spaces, times, histories, and languages i.e., the metric division (and, in turn differential erasure) of time and node. I am reminded of some thinking by Deleuze that: ‘[c]reative chaos, however, is not chaotic, but it is rather the virtual formation of all possible forms.’2 This phrase lingers in my hands as I consider the permutational and speculative poetics of Sonya and Ben’s inter(e)actions, towards the invocation of multiple, virtual worldlings:
Resonant descending consonants smash into the false surface of that drone again… waves of white noise intercept as the voice audaciously assumes a quasi-Webernian Klangfarbenmelodie4 as it skirts through manic, hybrid syntax…a pulsating sine-tone reminds me of Havana syndrome.5 The mouth croaks opens, we hear a glimpse of pain (of disruptive wails).. Sparingly, a barely-mezzo soprano wheezes, before we are hurricaned by a forceful accumulation of spect(r)acular noise. There are well-formed, distinct micro-ontologies (something akin to insects) among us in this flux.. of intersections, departures, uncanny and destabilising lines of flight…collapsing into a breathless pulling back to the temporary centre: a scaffolding shaped by the pointillist pings of ring-modulators and tremolo that almost begins to half-form itself like the moniker of vibrating lips (or was that Sonya’s I heard?) …meandering through a virtual graveyard of post-dub decays, mono-tone calibrations, and crepuscular detunings…before a proto- or post syntactical refrain veers us on into another course, rounded out by the saving-grace of a Rococo tone in the quickening dead-zone between phenomenally signified and signifier …yet offering a consolation here in the dark noise…vertiginously carrying, reconnecting us to something consolable, tangible… a phrase forming out of strained phonemes: ‘don’t weight, don’t weight, don’t weight’ — bringing to mind Feldman’s Three Voices – which is largely wordless save the phrase: ‘Who’d have thought that snow falls?’
Gibson, Subversive sites, 22. ↩
Gilles Deleuze, Gilles Logique du Sens (Paris: Minuit, 1969) quoted in Rosi Braidotti, ‘Nomadic ethics,’ Deleuze Studies 7, no. 3 (2013), 343. ↩
Slavoj Žižek, ‘“I Hear You with My Eyes”; or, The Invisible Master,’ in Gaze and voice as love objects, (Duke University Press, 1996), 90-126. ↩
An orchestration technique developed by the Second Viennese School composers Arnold Shoenberg and Anton Webern. The ‘tone colour melody’ device is characterised by the segmentation of a melody across multiple, distinct instrumental timbres. ↩
Since 2017, there have been reports of a strange phenomenon primarily experienced by US government officials while abroad in Havana, Cuba (although there have been cases reported elsewhere). This syndrome is said to be induced by the targeted deployment of hyper-acoustic warfare technology towards special individuals by non-American state actors, resulting in symptoms such as cognitive disorientation, vertigo and nausea. ↩
Listening to the dance of Sumn Conduit, which troubles and obscures the distinction between subject and object (in the miasma of electrolytes and electricity), evokes the work of Black Futurist composer Pamela Z, whose vocal practice, as described by George Lewis, tells us how the margins of techno-voicings betray a complex cultural psychoanalysis: ‘multiplied, and detuned through digital and analogue processing, breaking apart into a heterophony of perspectives that seem to exemplify [understandings that] black identity, is plural, polyphonic, and heterogeneous.’1 Practices such as Z’s reveal a pleasure-filled exhilaration in ‘cracking open the voice’ through different disseminations — all imploding, veering parallel — defying a prevailing austere ‘system constructed on the disembodied rationality of the semantic [that] fears the voice because it is bodily, obscurely carnal, sensuous, passionate.’2
Throughout Pyrolysis there is a similar bio-mechanical multi-sensuality that lividly tears along the seams of so-called identarian unity, redolent of an earlier improvisation entitled ‘Track’ (2020), which exudes the push-and-pull of voice-knot within the (l)imitations of the machine-other. What arises is a sense of (post)humanly (de)basement in the reverberation (plug-in) of a counterfeit valley. When considering Sonya’s vocal improvisations against Carey’s modular patchiness, a dynamic is revealed via the duo’s meta-dance of human-voice and semi-automated synthesiser. Sonya’s vocality moves in such a way as to index an embodied marginality that when we hear this against the positivist-patriarchal meanderings of the synthesiser, a type of convergence arises. This convergence is a socio-sonic model of potential, or ‘re-routing’ beyond human vs. machine, suggesting how the subaltern voice and ‘carnal body’(in its Coptic rug-like weavings and dartings) can extend, and even undo the gestures and significations of machinic-agents forged in particular late-capitalist images, value-systems, and maintenances. When the synthesiser dissolves into the pneuma of voice, it is troubled, not becoming same or other, without risking nullification entirely; a quote by Braidotti comes to mind here: ‘[f]or Majority, there is no possible becoming-other than in the undoing of its central position altogether. The centre is void; all the action is on the margins.’3
George E Lewis, ‘The virtual discourses of Pamela Z,’ Journal of the Society for American Music 1, no. 1 (2007), 66. ↩
Adriana Cavarero, For More Than One Voice: Toward a Philosophy of Vocal Expression (Stanford: Stanford University Press, 2005). ↩
Rose Braidotti, ‘Nomadic ethics’ in Deleuze Studies Vol. 7, No. 3, (2013), 345. ↩
At many junctures within ‘Track,’ the synthesizer becomes akin to a vocal fold (and vice versa) while pushing the Gaussian limits of the concrete subject, expelling un-words, ecstatic (dis)qualifiers – beyond the solvently-bonded, cultural halo of meaning —(re)weighing us down with the inter-terminate sonic flux. At points of frenzy, something has taken hold of the subject, the body behind it … lagging and buffering. There is an ontological glitch and blur here in the inflammation of synapse, electricity, and skin. The machine dares to imitate the human, taking pleasure in its ability to emulate the buzz of life: it squirts and drips while releasing a trick(l)y odour. And, in turn, drives her to find refuge in becoming more-and-more organ-less,2 dislocated in the negation of a singular desire towards key signature, temperament, style, and White aesthetic dominion.
Considering the idea of becoming-other, within this and other performances, Sonya’s vocality plays on the margins of a crippled and complex psycho-technological and social plateau, which has no choice but to embrace multiple imaginings. Despite Sonya’s ‘training,’ the discontinuous vocal sonorities of her voice do not find their emergent subjectivities in terms of knowing themselves in what Mladen Dolar describes as ‘His Master’s Voice’. Rather, her voice seldom has what Dolar outlines in terms of a ‘handle for identification,’1 i.e. lacking a monadic approach to timbre or execution. In other words, Sonya’s reve(a)lling of the contrapuntal nature of being reflects a raving acknowledgment that there is no fixed point of aesthetic ‘closure’ (of ‘centre’). What emerges is a molten practice yearning to (c)overtly stray from the patriarchal, Enlightenment-era aesthetics of rationality and control — pushing against the idea of ontological stability (the aesthetic precepts of classical training) and the voice-at-large.
Along these lines, Sonya has alluded in several conversations that the syntactical heterogeneity of her vocal practice involves the filtering of a ‘roundtable’ of internalised alteriors, or archetypes — beyond that of the genius myth of a singular source of creation. As she explains, each of her chaperoned ‘parts’ possesses a distinct quality which may come to the textual surface, arising from a translative process felt in the vectors of the body: a surplus of negotiating the split, of a type of haptic compromise. Another way to conceive of this may be in terms of a valve that is being released — circulating from build-ups and ebbs of pressure, of multiple unseen networks of openings, giving rise to a barnacled and intonated suffusion. In Sonya’s words, her engagement with compound idiosyncrasies in this way:
Always serves the artwork. I can happily stay in a fixed mode, if it feels like the best decision for the work and if it needs that continuity at that time. But it’s also key that I’m free to switch, disrupt and be disrupted; as is inherent to the negotiation of making. It’s definitely extra-musical, and often tends to feel more visual, or visceral, or gastronomical, or conversational. Always intentional. More and more I favour this instinctive, integrative, gut-led way. Contrary to misunderstanding, it is highly organised and deeply logical.
When listening to Sonya navigate through these heated arbitrations, there is also a distinct impression that we are being guided through a never-to-be-seen process. Perhaps this is a psychologically safe thing to do, for attempting to really come to terms with the multitudinous folds of reality ‘can paralyse or destroy the person making the efforts’.1 This is why works in the field of performances art (such as those of Marina Abramovic or Yoko Ono) encroach on a sense of an unabridged liminality (akin to a K-hole) — without completely going there, indemnifying in a way, but still finding energy in the risk that the performer (and even audience) might fragment and crumple under the intensifying of certain kinds of (sub)atmospheric, psycho-social pressure. Our anxiety ultimately heightens when confronted by the notion of (im)prismed, multiple person-hoods (think Golyadkin Sr in Fyodor Dostoevsky’s The Double2) of those who are at risk of coming apart in the diffuse affectivities of non-linear space-time-self and the prospect of kaleidoscopic ruin.
Elizabeth Grosz, ‘The Thing,’ in Time Travels: Feminism, Nature, Power (Durham: Duke University Press, 2005), 131, summarised in Laura U Marks, ‘A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics,’ in The Oxford Handbook of Sound and Image in Digital Media (Oxford University Press, 2013), https://www-oxfordhandbooks-com.ezproxy.library.sydney.edu.au/view/10.1093/oxfordhb/9780199757640.001.0001/oxfordhb-9780199757640. ↩
In Dostoevsky’s 1846 novella, The Double the protagonist (Golyadkin Sr) encounters a man who looks exactly like him, his double and comes too close to this threshold. He experiences a crisis after encountering myriad ‘mirrors’ of himself. ↩
There is also a feeling that this city changes shape depending on your entrance through the cross cuttings; a place of thwarted aspirations, a trepidation of going forward into an uncertain future, marked by a cultural hesitation to adopt the gentrifying marks of other similarly historically working-class cities such as Newcastle. Wollongong is a complex in a state of many modulations, clashes, and beatings. A mise-en-scène of contradictions that span colonial-induced traumas and modernist post-Fordist reconfigurings, all almost impenetrable to outsiders…(the tour guide is dead).
For marginalised artists, to live, think, and vocalise in oppositional terms — what Édouard Glissant or Fred Moten might call the opacities of bla(c)k and subaltern sociality — is to be able to understand that it is not possible, or realistic for the many voices of the self to be revealed (or understood) at once. Sonya often employs the term ‘cryptic’ to index a consciousness along these lines. This is a modality that she explored in recent experimental writings via uncanny arrangements of dense blocks of words, shrouded text, or the barely-readable, in fonts from a long time ago (the early 2000s). In these linguistic experiments, she seemingly alludes to the hippocampic compression and coveting of somatic experiences beyond the readily graspable. Sonya’s writing and singing in this respect is a proposition that not all languages, faces, socialites, or aspects of the self are readily available for the gaze of the Dominant, white, male-cis imaginary battery-capacity. For there are things, phenomena, and practices, which are coded for communicative living with specific people, for those sympathetic resonances nestled above and below… challenging the assumption that there is any such thing as a ‘fundamental’.
Reflecting back, there was something of a cryptic tendency to Sumn Conduit’s Carriageworks performance of ‘Track’ discussed earlier, wherein Sonya employed the artwork of Sydney street artist Rabble as a score. At various points in the performance, a figure (the artist Rabble himself) emerged from the seats and changed one painting to another. Each painting was a collection characterised by coded half-words, allusions, cast within gelatinous sprawls (and scrawls) of meaning. Through this act, he introduced a further degree of perspicacity to the mix – rooted in shared and complicated histories between two friends.
This was a performance that did not want to betray its true location. Instead it gave rise to a sensation that the morphological scaffolding (via surface/voice/synthesiser) was almost about to fall out from underneath us, due to the perpetual and maddening reconfiguring of sonic and gestural codes that comprised of conflicting metric-logos in palpitation, a break-down situation revealing ‘the fact of materiality that commodification must always conceal’ a form of ‘meaningless noise’.1 Inescapably, this is what the cryptic compels us to confront: when those ugly and dissonant aspects invert the civil and expected façade, we inevitably hear the long murmur of the Real remainder… of strains, of frustrated tones, in turn differentiating an (en)sounding of those things long neglected.
Laura U Marks, ‘A Noisy Brush with the Infinite’. ↩
Sonya describes her approach to interpreting Rabble’s paintings in terms of a pan-aesthetic process redolent of ‘singing the Country, or ‘singing the tree,’ bringing to mind a burning question: how much of the score relies on information beyond-the-score for its realisation, nested in the opaque knowledge peripheries of the performer themselves? Herein the score becomes not mere transmission, but a clandestine relationship…a hidden or cryptic sum of attempts at love… a counter scoring arising from a broken triangulation of parts. Improvising with and through Rabble’s paintings at her own pace ensures Sonya a way of reclaiming agency and destiny to be witnessed as one desires to be so. This is a means to robustly re-channel energy which could have been contained and lost by more rigid or conventional approaches to experimental performance, or perhaps even a way to evade the colonial, encyclopedic capture that scores can sometimes demand of their performers. Sonya explicates this dilemma as it transpired in real time:
In ‘Track’ it was coming up soon… a passage I wanted to improvise, typically too high for me. Stratospheric. The melody just needed to go there. If those notes had been prescribed in a score, a formidable foe… something I have to conquer… to get right. People will know if I don’t… The score is forcing my body-mind into a fixed posture, it doesn’t feel like agency… no getting out of it. In improvisation, it is executed in a different spirit. The stakes are completely different… for my own artistic pleasure. You can’t dread spontaneous choices… Where I wanted the line to go – the technique just followed suit. Executing my own free will…I can work with whatever happens… can’t fail… expect to be surprised often…spirit of discovery, no fixed sense of right or wrong, no external pressure. Internal energy always has release points…I can be human.
These words reveal an artistic problematising of the dichotomised action/potential between what is regulative and what is possible – compelling us to reflect on a socio-historical condition that afflicts many subalterns (and artists in general). A railing-against-refrain that leaks from the untenable responsibility placed on individuals to find their way out of the logistical malaise and minefield of post-liberal capitalism — and its (re)territorialisations — which doesn’t preclude music. Yet, almost always, minor subjects have persisted in rerouting the (m)otherboard: generating brilliant electronic flashes; short-circuiting and beta-testing new forms of creative praxis and survival from adjacent; and from below. This is what we hear when we consider practices like Sonya’s, via ‘the grain of the “living voice”’ which ‘communicates the presence of an existent in flesh and bone’ referencing a ‘throat, a particular body’.1
Sonya’s ability to connect marginal practices and the margin of her own disruptive raving and cryptic vocal corporality makes what she does undeniably unique. Her own personal story is complex, but it is through her diffuse creative practice that this is processed in coded ways. To use sound in this manner, by generating a layered cross-registral weaving of stories, texts, and gestures can be provocative. Yet, at the same time, it can also foster an (en)sounding space of safeness for those with similar experiences to find temporary refuge in vulnerable revealing(s), within the ongoing affray for those who have lived noisy lives…seeking comfort in the danger-dance of (in)discipline, however dissonant or disjunct.
In these ways, experimental vocal improvisation is affirmative and earnestly hopeful: it provides somewhere to go, because there always needs to be a place of landing in occupied territories. It is politics in action; in the words of Roland Barthes, voice-is-world – even if it’s only realised in the meandering-weavings of performance, this nonetheless, provides the sanctity of emergent heterotopias, of reconfigured (and better) possible worlds for us to carry, in interiority, until we find that next ecstatic avenue together.
Adriana Cavarero, For More Than One Voice : Toward a Philosophy of Vocal Expression (Stanford: Stanford University Press, 2005), 177. ↩
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).