Disclaimer

Index

Content Types

Artist Profiles (4)

Audio (4)

Audio Papers (39)

Editorial (3)

Essays (29)

Conversations (11)

Scores (10)

Series (10)

Text Poems (8)

Contributors (133)

  • Allanah Stewart
  • 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
  • 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
  • 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
  • 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
  • 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.

  • Sean Baxter
  • 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
  • Thomas Ragnar is an artist based in Singapore. His work is often underpinned by collaborations, affinities and research with experiential methodologies.

  • Alessandro Bosetti
  • 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
  • Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation.

  • Mat Dryhurst
  • 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
  • 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.

  • Emile Frankel
  • 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 Sci-Fi and critical fantasy publisher Formling.

  • Bridget Chappell
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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.

  • 33EMYBW
  • 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
  • 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
  • Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art, Melbourne.

  • Arben Dzika
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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.

  • Immy Chuah and The Convoy
  • 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
  • I’m 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
  • Sarah McCauley is a Melbourne-based music producer, editor and writer.

  • Neil Morris
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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.

  • Johnny Chang
  • 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
  • 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
  • Andrew Fedorovitch is compos mentis.
 Andrew Fedorovitch embodies professionalism in every aspect of his life, including music.

  • Shota
  • 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
  • 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
  • Alexandra Spence is an artist and musician living on Gadigal country in Sydney, Australia. She makes installations, compositions and performances based on (everyday) sound and listening. Through her practice she attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has a current, near-spiritual, obsession with the animation of material and object through sound. Alex has performed and presented work on radio, in concerts, festivals, symposiums and galleries worldwide, and has two releases: Waking, She Heard The Fluttering, with Room40, and Immaterial, with Longform Editions.

  • MP Hopkins
  • MP Hopkins is an artist based in Sydney, Australia, that is concerned with how to record voices that are not really there, and ways to make voices that are there not sound like voices. He makes audio recordings, performances, and texts.

  • Joel Stern
  • Joel Stern is a curator, researcher, and artist living and working on Wurundjeri land in Melbourne, Australia. He has been Artistic Director of Liquid Architecture since 2013. In 2018, with critical legal scholar James Parker, Stern curated Eavesdropping, an expansive project addressing the ‘pol­i­tics of lis­ten­ing’ through work by artists, researchers, writ­ers, detainees and activists from Aus­tralia and around the world.

  • Georgia Hutchison
  • 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
  • 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
  • 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.

  • Emma Nixon
  • 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
  • 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
  • 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
  • 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
  • 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 LG Hill
  • 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.
    http://www.christopherlghill.com/
    https://twitter.com/CLGHill
    https://www.instagram.com/christopherlghill/
    https://bunyiptrax.bandcamp.com/
    https://jahjahsphinx.blogspot.com/
    https://boobasprite.tumblr.com/
    http://counterfeitnessfirst.blogspot.com/
    http://newtabandwindowshopper.blogspot.com/
    https://www.mixcloud.com/Christopher_L_G_Hill/
    http://anotheryouapictureavoicemessagemime.blogspot.com/

  • Iliass Saoud
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • Elena Biserna is a scholar and independent curator based in Marseille (France), working at the intersection of social, political and public spheres.

  • Tobi Maier
  • 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
  • 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
  • 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
  • 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
  • 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
  • Kengné Téguia is a Black Deaf HIV+ cyborg artist, who works from sound deafinitely. #TheBLACKRevolutionwillbeDEAFinitelyLoud

  • Ange Goh
  • 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
  • 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
  • Tom Smith is a Melbourne-based artist, musician and researcher whose work combines video assemblages, experimental performance, speculative fiction, electronic music, websites and critical writing. Tom’s work is concerned with the politics and poetics of computational systems, the contradictions of creative economies, generic digital aesthetics and music as a mode of critical inquiry. Tom is also one half of music production duo Utility, and runs an independent record label called Sumactrac with Jarred Beeler (DJ Plead) and Jon Watts.

  • Pris Roos
  • 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
  • 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
  • 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
  • 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
  • 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.

  • Makiko Yamamoto
  • Makiko Yamamoto
    makik markie yammamoroto
    Mama
    Kik
    Makiki
    Yammer matah
    Ma
    Ki
    ko

  • Leighton Craig
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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.'
    —Cecilia Vicuña

  • Camila Marambio
  • 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
  • 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
  • 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
  • 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. 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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
  • 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.

  • Jason De Santolo
  • 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
  • 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
  • Snack Syndicate, two rats (Andrew Brooks and Astrid Lorange) living on unceded Wangal land; texts, objects, events, meals, and publics.

  • Spence Messih
  • 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
  • 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
  • Tom Melick is the co-editor of Slug and part of the Rosa Press Collective and Stolon Press.

  • Trisha Low
  • 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).

Artist Title | 00:00 / 00:00 (Play)

Disclaimer

Index


Unheard Relations:
Thembi Soddell, Tina Stefanou,
Xen Nhà, A Hanley and Joel Stern

The following dialogue — between artists Thembi Soddell, Tina Stefanou, Xen Nhà, and A Hanley, and curator Joel Stern — took place across WhatsApp, Zoom, and Google Docs in November 2020. The purpose was to explore and develop common threads in each artist’s practice, which might inform the preparation for the as-of-the-time-unrealised contributions to Liquid Architecture’s program at McClelland Sculpture Park and Gallery as part of the exhibition Site & Sound. As such, this text has a provisional, speculative quality, serving as an introduction of the artists to one another, and the reader, as well as an articulation of possible directions for the work to come. By the time this text is published and circulated, the commissioned audio pieces will have also been realised. In that sense, we are writing for future readers, including ourselves, with a more complete understanding of what we mean to say.

ACT ONE

SCENE 1: A Bowl of Words

Outside. A pollen-rich wind blows creating a dynamic force of smell, sound, and feeling. Five hearts beat around a bowl of words. Buzzing sounds omit from the centre of the room — they move in closer.

Someone sneezes.

SCENE 2: I Am Sitting in a Zoom

Xen Nhà

My first big public performance was with my mother. We made a piece inspired by Trinh T. Minh-ha, incorporating poetry and songs. Having her be part of the event was a nice way to start doing more public work, and it felt necessary at that moment.


A pigeon coos its contribution.

My work extends from community radio, as presenter of 3CR’s Queering the Air and Women on the Line, to making documentaries and zines. In all these things, I’m interested in relationship building, and connecting with people through sound. I’m especially interested in power dynamics and sound, in relation to race and gender, ideas I have explored through workshops, for instance ‘sound bodies’, which I facilitated with a friend at a feminist centre in Los Angeles. We used listening exercises and walks to think about place and gentrification, inviting people to explore how their bodies interacted with the soundscape; the sounds of gentrification; sounds that made them feel safe and comfortable. We shared stories of how ‘body sounds’ reflected our experience of race, gender, and body image.


Chair creaks in a quiet open space.

What meaning do we assign to the creak of a chair, and by implication, the person sitting on it? I’m interested in how we relate to our own bodies and the bodies of others, through sound.



<p>Tina Stefanou, <em>The White Ape Hears the Holy Supermarket for the First Time.  Not-Another-Field-Recording: The Holy Epiphany,</em> 2021, six-channel sonic sculpture across McClelland Sculpture Park and Gallery.</p>

Tina Stefanou, The White Ape Hears the Holy Supermarket for the First Time. Not-Another-Field-Recording: The Holy Epiphany, 2021, six-channel sonic sculpture across McClelland Sculpture Park and Gallery.

A Hanley

I came to working with sound in different ways, including music, sonic fictions, and radio. I’m interested in space and sound, but also the way that sound intersects with environments and bodies. My practice-based research applies queer ecology and queer theory to thinking about listening environments. Queer ecology, for me, is a way of reading space (substitute the term ‘reading’ with whatever you like: listening, sensing, seeing, touching, etc.) of considering the listening body as always situated and relational. For me, the relationships between listening, sound, queer expression/s, and environments also function in less cerebral ways that correspond to my embodied experiences as a queer person.

Joel Stern

My background is connected with experimental music, sound art, and other so-called avant-garde traditions. This work was thrilling and exciting when I first encountered it as a student, but as I got more familiar with the form and content, I started to realise that what I was interested in was not so much the sound itself (if such a thing can exist), but rather, its significance. What sound meant to me, what it stood for and triggered mentally and conceptually, for instance, ideas of freedom, complexity, and disruption. This opened me up to a more semiotic way of listening and producing: sound as a text to be read; a listener as active reader; an emphasis shift from production of sound to politics and ethics; and to an aesthetics of listening. At Liquid Architecture, we stage investigations into listening modalities and strategies that we hope can be shared and used. At the outset of a project, we work with contributors to develop shared questions and references, and to incrementally proceed in exploring these in ways that are distinctive to each artist.

Thembi Soddell

(feeling uncomfortable) I’m not good at talking about my work (eyes shift to the right, reducing visual noise to help them focus). I started twenty years ago in a media arts course, focussing on photography, but soon shifted to sound because of its invisible, ambiguous magic. I work in the realm of ‘musique concrète,’ exploring abstract textures, but from the perspective of its emotional resonance (which is not a very ‘musique concréte’ thing to do). My doctoral research explored the idea of the first-person madness narrative, how to translate this into abstract sound. I work with tension and anxiety, but also beauty and relaxation, not as binaries, but as elements that co-exist in the same moment. Abstract sound can reflect the complexity of feeling and affective knowledge that I can’t articulate through words. That’s what draws me to it.



<p>Tina Stefanou, <em>Grandmother’s Throat. Not-Another-Field-Recording: The Holy Epiphany</em>, 2021, six-channel sonic sculpture across McClelland Sculpture Park. Image courtesy of the artist</p>

Tina Stefanou, Grandmother’s Throat. Not-Another-Field-Recording: The Holy Epiphany, 2021, six-channel sonic sculpture across McClelland Sculpture Park. Image courtesy of the artist

Tina Stefanou

It all started a million years ago (in a whispered tone) … I don’t consider myself a ‘sound artist’, I have a background as a vocalist, playing in bands, throwing myself around the stage, and in experimental music groups. As I’ve pursued art, I have been trying to figure out how the spirit and materials of the voice might exist beyond Western conceptions of sound and music, in, for instance: moments, stories, images, relations, and movements. I often work with my family and with animals, grounded in a multi-species and ecological perspective. I have been collaborating with a herd of elderly horses that live near my house, and singing with them for a few years now. I work with them and their community to construct unperformative environments. This is a very slow process of moving, l(ear)ning new skills, workshopping, attuning to and with bodies, and making sure the horses are safely introduced to new sonic materials. For me, the sonic doesn’t begin or end with neurotypical human audibility or technology. Sound/voice is inherent in all things.


The humans all stand so they can see, through their screens, that they all have legs and buttocks.

<p>Topographic map of McClelland Gallery site.</p>

Topographic map of McClelland Gallery site.


SCENE 3: Bird Drama


Each human has a sounding body that exists in distant spaces, communicating, yet no words can be heard, only birds.

Joel begins with a provocation (not a tweet).



Joel Stern

How might we understand acts of listening and recording in an artistic context as social practice?

Tina Stefanou

When is something not social? There is something being ‘heard’ — so a relationship is always already there.

Thembi Soddell

Could you define social practice for me?

Joel Stern

Essentially, it is art grounded in the production of social relations and community rather than aesthetic objects.

Thembi Soddell

I’m not sure then. I’m reclusive, work alone, and shy away from collaborative or community-based practice. I’m not good at understanding sociality in art. So I’m curious, how would you see my work as a form of social practice? Is it even?

Joel Stern

I understand this question as, ‘can a reclusive and solitary way of working with sound still be a social practice?’ I would say that the moment in which people listen to your work, and connect with you through the medium of sound, is one in which something profoundly social is shared.

Tina Stefanou

In my work, I think relationally — in terms of the push and pull of materials, meanings and experience — with the intention of sharing this with others. We can expand the idea of the ‘social’ part and the sense of our work being human or self-centred — for only a human type of sociality.

Thembi Soddell

If the sociality of social practice is expanded to include works that are only social in the moment of sharing, how is that different from art that disregards the social context? What then is the point of that category? Also, in an exhibition that is responding to the climate crisis, what are the implications of focusing on human-centred practice and sociality?

Joel Stern

As Tina put it, listening itself is ultimately a social act, grounded in anthropocentrism, for example, that which is audible to humans. Thembi, I consider your work ‘social’ because it communicates ideas of trauma, dread, and emotional intensity which can only be understood within a human framework. Sound therefore becomes a medium for sharing intimate experiences of psychological states.


The song ‘I Want To Know What Love Is’ is playing on the radio in the back of the room — it begins to distort.

Tina Stefanou

There is an opportunity to explore the implications of the ‘heard’, the relationship of sound to the listener, and the sonic agencies that point to ‘something’ beyond human perception. For me, ‘the self’ is a multiplicity (the phrase ‘ecologies of selves’ tickles her right ear), there is social and artistic value in giving voice to these multiple states.

Thembi Soddell

I often think about how people’s personalities are known to just be a mix of the five or six people we spend the most time with.


A round of applause echoes from the local stadium.

Tina Stefanou

(laughs) This makes me think how my chooks and doggy are the five ‘persons’ I have spent the most time with these past months and what that means for my human relations. Moving beyond human exceptionalism, there is a subjectivity of relational interdependence with other-than-humans. I think in terms of more-than-human subjectivity, where the isolating weight of humanism is transformed, ‘feeling into’ those interdependencies — the polyphonic self is always more-than-one, always a process-on-its way, always being-with-others — regardless of what you make.


Tina begins moving her head, mimicking one of her chooks and growling in a canine-like fashion — Thembi joins her.

Joel Stern

We might think of this as a dialogue between ‘listening subjects’ and ‘sonic objects’.


Thembi gardens between messages and becomes enthralled by a ‘bird drama’ happening in a tree in their backyard. They were drawn to it by the intensity of the sound, the sound of a wattle bird’s wings flapping as it bullies a honeyeater to get out of the tree. But the honey eater isn’t having it, jumping from branch to branch and standing firm in its right to its place. This goes on for hours. Yet when Thembi sits close to the tree, the birds keep to themselves. Thembi wonders, ‘in what way are they experiencing themselves in relation to me? What is our relationship through their own perception, and why does this new relationship change their behaviour and its outcomes?’ This helps Thembi understand how their work might be a social practice, a thought they share with the group.

Thembi Soddell

My sound compositions are a form of communication, a way of sharing feelings or thoughts that can’t be put into words (and feelings are also thoughts, in my opinion). I communicate to myself and others through abstract sound, but it is very personal in how each person interprets and understands this communication. It’s filtered through their own values, ideas, knowledge, experiences, and bias. There is no singular meaning for abstract sound, so the interpretation becomes a reflection of each listening-self, and who they are in relation to me.

A Hanley has created an interactive and expanded digital iteration of multichannel audio composition SUNKLAND.XYZ for Disclaimer.
Explore here.



A, who’s been listening whilst eating some dragon fruit, chimes in.

A Hanley

Regarding ‘social practice’, I feel that while some artists actively align with this term, most practices could be considered ‘social’ in certain ways. I wonder if this reflects the ways that sociality is valued more broadly by humans, specifically, focusing on human-to-human relationships, rather than human relationships with land, waters, and/or other non-humans, forces, and entities. I question how language delivers forms of thinking that separate ‘human’ from ‘environment’. What terms, language, and questions might trouble this thinking, and how might we embed them in our practices?

Thembi Soddell

I started using the term ‘experiential listening’ to describe my compositional process for this reason. As a shorthand for listening that accounts for the entirety of what it means to experience sound.


A choir of cockatoos quietly enters the room and surrounds Joel, inviting him into a gentle choir. He opens a book, looking for a half remembered quote.

Joel Stern

This sounds quite close to what Pauline Oliveros means by ‘deep listening’, which she has variously defined as ‘a practice that is intended to heighten and expand consciousness of sound in as many dimensions of awareness and attentional dynamics as humanly possible’, and also ‘a way of listening, in every possible way to everything possible, to hear no matter what you are doing’.

Thembi Soddell

‘Experiential listening’ is a bit different though, in that it’s describing my compositional process and the dialogue that forms between myself and the sound while composing. It doesn’t include hearing everything, but rather what you want to hear. It’s a nod to experiential therapy, in which experiential listening aims to uncover the ‘felt sense’ of what the speaker (patient/client) is attempting to communicate. The therapist ‘listens’ to more than the speaker’s words, but also to gestures, and the feelings they evoke in the therapist etc. In this analogy, I become the sound’s ‘therapist’, attempting to uncover the felt sense articulated by the sound, using that to further shape the composition. We are in dialogue, relating to and changing one another.

Xen Nhà

I am still figuring out what terms suit me. I definitely don’t like the binary of objective and subjective. I prefer the term ‘relationality’. I feel that my work is grounded in the practice of relationships. I take inspiration here from writers Gloria Anzaldúa and Trịnh T. Minh-Hà who speaks about sound, documentary, and the liminal space. Trịnh T. Minh-Hà has expressed her desire to ‘speak nearby, rather than about’. Beautifully said, complex in practice.

Thembi Soddell

Yes! I love how the term relationality switches focus from my experience (as in experiential listening) to the place between my experience and that of others. It’s only a slight shift but an important distinction.


Tina hums to the sound of dispersed words and begins to gurgle water.


SCENE 4: I Am Thinking of a Zoom


Joel thinks back to a Zoom conversation between the group, and a provocation from Xen about the meaning of the word site and it’s ‘cold’ rationality, how it sounds like something imposed upon land. The ‘felt sense’ of the group’s response was one of conceptual expansion. He wants to hear more.

Joel Stern

Could we each say something about what we understand as ‘site’ in reference to site-specificity or site-responsiveness? Possible sites I have been thinking of are inside one’s own head; in a field of social relations; everywhere or nowhere at once; grounded in specific locations; tethered to Country or place…

Thembi Soddell

Perhaps the site I work with is the site of perception? The place where perception happens and shapes each of our versions of reality.

A Hanley

Xen’s idea, that ‘site’ sounds like something ‘put upon the land’, makes me think of site as event or site as intervention. Rather than the action being ‘a placing upon the land,’ the term ‘site’ also evokes an inward direction for me. Though, perhaps the kind of intervention I’m thinking of is a placing upon; the placing upon of meanings and the event of bodies. It makes me wonder, how does a site emerge? At what point does place or perception precede this term? Is there a point where a site is no longer a site?

Xen Nhà

One question I ask is, ‘how do we situate ourselves?’ I think this invites dialogue and compels us to reflect on our relationship with ‘site’. I can’t begin to imagine what I’d create ‘onsite’ until I’m there and speaking with Elders or researching the Aboriginal history. I feel the need for a ‘felt sense’ of the site.


Tina trips over an amplifier and spills a glass of cool orange juice on the floor. Outside a seagull quarrels with a sandcastle. Lights out.

(play) (pause)
00:00 / 00:00
Xen Nhà, Visiting Rites: I take off my shoes before I enter, 2021.
<p>Xen Nhà, <em>Visiting Rites: I take off my shoes before I enter</em>, 2021.</p>

Xen Nhà, Visiting Rites: I take off my shoes before I enter, 2021.

<p>Xen Nhà, <em>Visiting Rites: I take off my shoes before I enter</em>, 2021.</p>

Xen Nhà, Visiting Rites: I take off my shoes before I enter, 2021.

<p>Xen Nhà, <em>Visiting Rites: I take off my shoes before I enter</em>, 2021.</p>

Xen Nhà, Visiting Rites: I take off my shoes before I enter, 2021.


ACT TWO


SCENE 1: Listening (to-from-about) Bodies

Thembi Soddell

Tina, when we spoke the other day, you mentioned that in your work with horses your process is ‘always about continuous patience, not results driven’, and it’s essential to take time building relationships with the people, animals or place to realise your work. If social practice is about creating relations, not objects, where does the audience sit within the relationships you build? Is there still an ‘object’ you create for them? If not, what does the audience relate to?


In the corner of the room a wall whispers, ‘Can an object be composed of relations? Is there anything that is void of sociality and historicity — human or otherwise…?’

A deep hum comes from the stool where Tina sits — she contemplates the audience and starts to spiral. She is unsure who the audience is, and responds in a croaky voice.

Tina Stefanou

Is the audience the object?


She is not sure what she means by this. She clears her throat and further explains.

I suppose the audience is always implicit regardless of whether a final outcome is present. There are tiny little ears everywhere, inside and out. Perhaps an ‘audience’ is a type of blind faith. There is always ‘something’ witnessing.


She looks to the left hand corner of the room when she is nervous. The sound of a lawn mower begins in the distance.

Joel wonders if ‘audience’ and ‘audio’ are etymologically linked.

Thembi Soddell

I’m also wondering, how does ‘listening’ (in the broadest sense of the term) manifest in your work, both in process and result?


Tina throws a bouncy ball on the wall and turns to the reader.

Tina Stefanou

Listening is an undefinable space-and-time feeling, something that exists within, between and outside of bodies’ capacities for receiving and transmitting information. Listen, you’re doing it now! It also exists within mechanistic movements and flows in the environment here and beyond. Listening goes beyond the normative functions ascribed to a headphone world. Listening can be like growing food, a tongue tasting salt for the first time, an Earth rotation, a caring gesture, or a vision. Listening is also an important function and an embodied reality for survival, whether it is listening to a body for illness, listening for your name in the Centrelink queue or listening for changes in the atmosphere.


Tina and A start swaying in unison. Tina sings a lullaby to her knee cap, then exits the room for a moment.

Thembi Soddell

This makes me think of how Pierre Schaeffer’s aim in developing a theory of musique concréte was to find an intersubjective language that removed sound from its sociality and historicity. There is a general feeling that this approach failed, because it is almost impossible for people to dissociate sound from meaning. I see composing as a process of generating relationships between sounds, and that the compositional ‘object’ is a social relation between sounds. I spend time getting to know the sounds I compose with, and getting to know how they relate to each other. Spending time with sound is a big part of my practice. I have also spent time building a relationship with the equipment and software I use, having worked in the same way for fifteen years. Is anything not a relationship?


Tina yelps ‘BINGO’ as she runs back into the space. Peering into a Greek coffee cup, Tina sees a thread.

Tina Stefanou

The technologies we use are minerals and flesh bound up in labour and geopolitical webs, woven into our lives, bodies and practice. So many unheard and unseen relations.


Looking towards the half opened door, Tina spots Xen planting a tomato in the hallway. The sound of a crow’s feet landing on the tin roof enters the house, as does its voice.

Crow (translated to English): Looking out towards the horizon, its feathers can sense the shifting hues. As the colours deepen, the sounds from the nearby caravan park increase. It can hear a rhythm emerging from a combination of sea breeze through the trees and human conversation. The rhythm is infectious and it begins to tap its claws on the tin roof.

Inside the artists think it is raining. A smiles as they look up towards the roof.

A Hanley

In a recent work, I explored the affective possibilities of listening through Sara Ahmed’s ideas about orientation. Ahmed argues that ‘to be affected by something is to evaluate that thing. Evaluations are expressed in how bodies turn toward things.’ So for a while now, in various contexts, I have been wondering how listening is a ‘turning toward’ and what causes us to turn. Why do we orient ourselves toward certain sounds and how do we evaluate the relationship between those sounds? What are we listening toward? In thinking this way, I question how art and artists might facilitate this moment of listening toward… relationships, and how possibilities of listening this way might open an ecological intimacy, a sense of interdependence, with (im)possible worlds, a wandering…


Thembi regrets mentioning Pierre Schaeffer. We have all heard enough from the ‘great white men’ of sound art. Suddenly five cheerleaders storm the room dancing and throwing confetti. All the artists join in.




SCENE 2: ‘Mirroring-ngai-birr-nong’



Earlier that day, Xen was listening to Wurundjeri Woi Wurrung Elder Uncle Bill Nicholson tell stories about Murnong (Yam Daisy) along the Merri Creek. He said there is a difference between ‘hearing’ and ‘listening’. Hearing is mechanical, listening is an act of care, respect, and reciprocity. Later, Xen walks along the Maribyrnong River and finds out that it is spelt ‘Mirring-ngai-birr-nong’ … which translates to ‘I can hear a ringtail possum’.

Xen Nhà

I’m listening to the land.

Earlier that morning, A drove across a bridge, looking out and across the water now known as the Maribyrnong River. Having never encountered this water before, and now having met it for the second time this week, they consider the ways that their body could really meet the water and why this water felt so present to them now. They think of the possum and make the shape of the words in their mouth — Mari-byr-nong, they try to recall the connection between the two… A Woi Wurrung word… is the river somehow shaped like a possum’s tail? Later Xen’s message comes through the chat. A thinks, ‘ah ha, I can hear a ringtail possum.’ They wonder, how many other places are named after the experience of a listener?

Curtains Open.

The artists exit the stage. Pigeons enter and gobble leftover crumbs. The audience listens. Someone coughs and then another…




Post-script: Backstage two tawny frogmouths are playing a game of scrabble while ‘Working Class Hero’ by John Lennon is playing from a car outside. One of them begins to spell out ‘s…u..c…c..e…s…s’ but when they realise they have run out of S’s so they swap Scrabble for Twister — they intertwine and become one big mouth. Now they can’t stop singing the song they heard earlier.

Contributor/s

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.

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.

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.

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’.

Joel Stern is a curator, researcher, and artist living and working on Wurundjeri land in Melbourne, Australia. He has been Artistic Director of Liquid Architecture since 2013. In 2018, with critical legal scholar James Parker, Stern curated Eavesdropping, an expansive project addressing the ‘pol­i­tics of lis­ten­ing’ through work by artists, researchers, writ­ers, detainees and activists from Aus­tralia and around the world.

Editor/s Liang Luscombe Joel Stern

ACKNOWLEDGEMENTS
This expanded text, with numerous embedded excerpts of works, orginally sprung from Liquid Architecture’s program at McClelland Sculpture Park and Gallery in March 2021. The editors would like to thank McClelland Sculpture Park and Gallery, all the artists for the creation of their insightful works for Unheard Relations and expansive thinking for this conversation and Casey Jones for her editorial support. Additionally, for Disclaimer, A Hanley has created an interactive and expanded digital iteration of multichannel audio composition SUNKLAND.XYZ, that was originally presented at this exhibition, explore here.

Notes

    Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid ArchitectureDisclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture
    Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture • Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture
    Score: Natasha Tontey ‘Church of Xenoglossia’, 2019

    Podcasts