Today I’m happy to welcome Hendrik Klatte to the show. Hendrik has science background and is also an artist, curator and also the founder of re:natura, a non-profit artist collective, music label and experimental laboratory. We get into the intersections between science and sound along with talking about the role of curators in building community and engaging audiences with sustainability through sound.   Links and Bio After studies in biochemistry and pharmacy, Hendrik Klatte applies his scientific background to his sonic, installation, and curatorial work. He studied at the Institute for Music and Media (RSH Düsseldorf) with Heike Sperling, Phillip Schulze and Marcus Schmickler. Here, he deepened his understanding of the connection between science, art, and sound. He completed his studies with a multimedia installation inspired by the slime mold Physarum Polycephalum and a scientific thesis on the representation of biodiversity in experimental musics.   re:natura is a non-profit artist collective, music label and experimental laboratory with a clear, shared vision. With a focus on topics of biodiversity, we explore animals, plants, landscapes and natural phenomena. In the critical tradition of naturalists, we compose, publish, perform and convey experimental musics that are concerned with the specifics of life. https://www.instagram.com/label.re.natura/   Links Crescere Release Event   Crescere Preorder  / Listening Party (available fromm monday, 13th)   Featured artists: IDRA  / Samaquias Lorta / Berenice Llorens   Experimontag   Release Lapis Elle – Hyphae   Release Deniz Dortok – Nocturna Gregor Dys on Instagram   Music For Cinemas on Instagram    Listening Party     Music credits from Gregor Dys – Anguilla Anguilla [re:natura] Gregor Dys – stroemung   from Gregor Dys – mumstakes Gregor Dys – tuer   Excerpt from Hendrik Klatte – Mucus [will be released on re:natura]   from re:natura #04 – Æther Laure Boer – Connecting Winter and Spring Music: Laure Boer Mastering: Jannis Wolff   from re:natura #05 – Crescere cosmic swarm, Walter Magi – coral nursery:  Music: Chiara Pitrola, Luca Ventrini All field recordings are from coral reefs recorded by Dr. Aran Mooney / © Woods Hole Oceanographic Institution. To donate to their coral reef restoration projects, follow https://explore.whoi.edu/giving  Mastering: Jannis Wolff

Today I’m happy to welcome Polina Medvedeva and Andreas Kühne to the show. Polina and Andreas create amazing sounds on their own and in collaboration. Together they play with narratives, community, shadow economies, and human relationships with environments. They work with an impressive array of techniques merging merges documentary filmmaking, AV performance, interactive installation, electroacoustic instruments introducing new ways of improvising in live performance. I can’t wait to chat with them both and hear some sounds go let’s get into it!   Track listing Anarchiving Rávdnji (2024). A live audiovisual performance following forward traces from “Rávdnji” exhibition at The Arctic University Museum with Elin Anna Labba’s reading of her book “The Rocks Will Echo Our Sorrow” (spoken in Northern Sámi). For this performance at Tromsø Kunstforening, artists and collaborators of the exhibition Andreas Kühne and Polina Medvedeva improvise with the audiovisual material they gathered for the exhibition and invited Risten Anine Kvernmo Gaup to add new traces in response.   Cross-border Interference (to be released, 2026). Part of a documentation series of feedback improvisation performances by Andreas Kühne, camera Polina Medvedeva Facing the Spills (to be released, 2026). Short film, live film performance and audiovisual installation by Polina Medvedeva and Andreas Kühne with Runa Sætervoll, Anastasia Kizilova, the lands, waters and animals in the Várjjat / Varanger area on the Norwegian side of Sápmi.   The Informals II 360 (2023) Live a/v performance by Polina Medvedeva and Andreas Kühne with Bobbie Johnson, Phonetic, and Marshall Mandiangu. Commissioned by Lighthouse, Brighton and Brighton Festival, Supported by Mondriaan Fund, Creative Industries Fund NL and Creative Europe Programme of the European Union   Audio Zine "Flowing, flushing, freezing, streaming: Listening at the intersection of human interference" (2025) based on a workshop developed by Polina Medvedeva and Andreas Kühne for Arctic Auditories: Hydrospheres in the High North (NFR 325506, 2021-25), recorded at Tromsø Center for Contemporary Art on May 25th 2025. The audio zine brings together recorded sounds, compositions, and live performances by Anna, Nathalia, Lars, Karolin, Anna, Femi, Lea, Sofía, Sindre, Mattin, Grisha, Anders, Johanna, Gwen, Martha, Eimear, Enrique, Lio, Steve, Ylva, Florentine, Angus, Polina and the anthropogenic waters of Tromsø, Romsa in northern Norway, Sápmi     Links and Bios Polina Medvedeva (NL/NO) works at the intersection of film, installation and performance, portraying individuals or communities who exist by circumventing political prohibitions, societal stereotypes, and effects of economic crises and conflicts. Questioning linearity in storytelling, she explores formats that allow for nuance and multiplicity of narratives. Medvedeva has been a resident at de Rijksakademie van Beeldende Kunsten Amsterdam (2020-2022) and her work was exhibited at among others Stedelijk Museum Amsterdam; WIELS Contemporary Art Centre, Brussels; Lydgalleriet, Bergen; Tromsø Kunstforening; Al-M_a_’mal Foundation for Contemporary Art, Jerusalem and Bak Basis voor Actuele Kunst, Utrecht. Performances include Landmark, Bergen Kunsthall; Baltic Circle Festival, Helsinki; HYBRID Biennale, Dresden; Sonic Acts festival, Amsterdam; Lofoten International Art Festival, Svolvær; Brighton Festival, Brighton. Medvedeva has been a guest tutor at Sandberg Instituut Amsterdam, KMD Bergen, Tromsø Art Academy, ArtEZ Zwolle, Gerrit Rietveld Academie, Amsterdam and a tutor and lecturer at the Utrecht University of the Arts.  She is a member of the selection committee for the Creative Industries Fund NL and a board member of The One Minutes Foundation.  https://www.polinamedvedeva.net/ https://www.instagram.com/p.a.medvedeva/   Andreas Kühne (NL/NO) is a sound artist, composer, and drummer making electroacoustic music, collaborative audiovisual performances

Summer holidays time! A break from interviews until August and today we have a return to 2024 with a compilation of sounds from last year. You will hear sounds from all of the artists I interviewed this year ranging from archival sound pieces to techno to sound art compositions to meditations and trash music. Thanks so much to Veronica Mota, Veerle Pennock and Etta Harbor as Parallel Problems, Felipe Vareschi, Monica Sand, Priscilla Haring-Kuipers from This is Not Rocket Science, Melissa Ingaruca Moreno, Juan C. Duarte Regino, Gina Lo, Luis Fernando Amaya for sharing their sounds. And there are some sounds from me – drusnoise – in there too. Check out the show notes for the track listing and links to all of the artists. And don’t forget you can always go back and listen to past episodes at sustain.fm/radio, on the RBL show site or on your favourite podcast platforms. Get in touch with us through sustain.fm or info@drusnoise. We would love to hear your thoughts on our shows, ideas or suggestions for future shows, or if you want to bring a sustain.fm event to your town. Track listing Monica Sand – Elegi Luis Fernando Amaya – Bestiario @luisongolilongo Melissa Ingaruca Moreno & drusnoise – Endarken @mel_ingaruca Gina Lo – Live at Berlin Modular Society @ginalololo drusnoise – Future Soundscapes -  Live in Gothenburg @drusnoise Juan Carlos Duarte Regino – Soundgifts @j.c_d.r Felipe Vareschi – Noise Mapping @frmvar Veronica Mota – Utopie und Widerstand drusnoise – We are but dust and shadows – Live in Graz This is not Rocket Science – Live at Clubsynth @rocket_not Parallel Problems – Live at Voltage Control Amsterdam @elektortek @ettaharbar    

Welcome to today’s edition of sustain, I’m your host Steve Williams. Today we have some really interesting sounds and a conversation with Zuzana Hamm performing as FridaY. Zuzana is the founder of the new project bitumen lichen. We talk about boundaries and connections – between the organic and artificial, between pasts and futures, between natural and industrial. Zuzana explores all of these boundaries and disrupts and connects across the boundaries through her music and the bitumen lichen project. We hear some amazing sounds from their first live event including the premiere of a soundtrack to Flora’, the latest book by Jonáš Zbořil that narrates a story of a creature born from nature and industrial waste in the wilderness of the toxic outskirts of a city as well as an excerpt of a performance by Nina Pixel that was also part of the live event. I really enjoyed our conversation and the sounds so let’s get into it. Bio Zuzana Hamm aka FridaY is a musician, DJ, music journalist and copywriter, event organiser and a shipping and community manager at KOMA Elektronik. In 2021, she completed a music production mentorship programme with Sebastian Mullaert (Minilogue) and the Amplify Berlin residency under the mentorship of Hainbach. In 2025, she finished the School of Song songwriting course with Brian Eno. In her productions and shows, she combines the use of synthesizers, controllers and Ableton with vocals, harp, bass, field recordings and improvisation. bitumen lichen is an outlet for electrorganic music, sound, photography and other fruiting bodies of work, founded by FridaY. The platform explores intersections, commonalities and liminal spaces between what we understand as the natural & organic and the artificial, industrial and urban. Sonically, bitumen lichen’s spectrum ranges from ambient, drone, field recordings and experimental electroacoustic music to low end frequencies, polyrhythms, percussion and breaks.   Links: Bitumen Lichen https://www.instagram.com/bitumen.lichen/ Friday https://www.instagram.com/friday_musik/ KOMA Elektronik Chromoplane https://koma-elektronik.com/new/product/chromaplane/ Nina Pixel https://www.instagram.com/ninnpix/ Flora by Jonáš Zbořil https://www.paseka.cz/produkt/flora/ Community Chai Berlin https://www.instagram.com/community_chai

From do-it-yourself to make-it-together: Making music (or musical instruments) never happens as individuals. We are connected to other people, other genres, communities, and the materials that go into the instruments we use. Today we talk with JacqNoise, an amazing sound artist and live performer but also a super connector. We talk about sound and music and the power of community. Exploring how connections become part of a community, moving from do-it-yourself to make-it-together. It was a great conversation, and I hope you enjoy it as much as I did.   To close the show we have a recording of a live performance by JacqNoise and her frequent collaborator Dan Graveyard. Thanks so much to Jacky and Dan for sharing this with us. Enjoy the sounds!   Links JacqNoise https://jacqnoise.cargo.site/ JacqNoise Hijack show on RBL https://rbl.media/programs/hijack/ Erica Synths – Bullfrog and educational modular synths https://www.ericasynths.lv/ Berlin Modular Society – https://berlinmodularsociety.com

Every morning, if we are awake, we can hear the Dawn Chorus. The sound of birds and insects and animals waking up. But what do we really hear? How do those sounds change around the world? And what about the underwater chorus? Can we hear that too? Today we speak with Grant Smith and Mort Drew, both part of the Soundtent collaborative that organizes the Reveil project – a 25 hour long streaming of the dawn chorus around the world. We talk about sound, listening, and working collaboratively in ecological sound projects. It was a fascinating conversation and we listen together to some streams – underwater and above ground.   The streams are pretty quiet so make sure to listen on headphones and turn up the volume when we listen. We talk about flat listening and I encourage you to practice that for today’s show.     Bios Mort Drew is a creative technician and sound artist working on live audio broadcasts, antihierarchical sound systems, and installations. Their practice explores ephemerality, activist radio, grief and displacement. Their work appears as broadcasts, workshops, publications, sound devices and performances. Mort is co-director of the artist cooperative Soundcamp and co-founder of Associació So (Sound Association) a new sound art collective based in Catalunya.   Grant Smith is a British artist and writer working on sound, transmission, text, domestic and social projects in Loughborough Junction, South London. Smith co-founded the Soundcamp cooperative with Kirsty Collander-Brown and Maria Papadomanolaki in 2013 soundtent.org. Soundcamp’s Reveil (2014-2022), a 24 hour broadcast of the sounds of daybreak on International Dawn Chorus Day each year presented in partnership with Wave Farm and broadcast on WGXC 90.7-FM.   Reveil, an annual 24 +1 hour live radio programme, assembled and broadcast from a temporary station at Stave Hill Ecological Park in Rotherhithe. Real time streams are supplied by contributors around the world at daybreak. The primary feed is hosted by Wave Farm in the Upper Hudson Valley, New York, and aired by UK broadcast partners Resonance FM / Extra in London UK and a collection of FM and net radio stations.   Links Mort https://mortimerdrew.co.uk/ @mort_drew Grant https://self-noise.net/ Reveil https://soundtent.org/index.html @sound_camp Waterhall Dew Pond Livestream: https://locus.creacast.com:9443/waterhall_dew_pond.mp3Jasper Ridge Livestream: https://locus.creacast.com:9443/jasper_ridge_birdcast.mp3The Locus Sonus Soundcamp where these streams are hosted and listeners can find other live microphones: https://locusonus.org/soundmap/The Reveil webpage which will go live at 05:00 UTC+1 Saturday 03 May, this is where people can listen to Reveil, read about the individual streams that create Reveil, and join the IRC: https://soundtent.org/reveil/index.html#/Our most recent call for streams, if listeners would like to contribute a live stream for Reveil: https://poetic-wallaby.pikapod.net/campaign/7ee8f1b6-8049-4dad-a091-92656b680f65/d51edb44-193c-4df4-8634-029f4da10b5aLink to the hydrophones we mentioned, distributed by David Rothenberg: https://www.terranovapress.com/books/aquabeat-hydrophoneLink to Zach Poff’s work Pond Station: https://zachpoff.com/artwork/pondstation/

So much about sustainability is about change. Looking at where we are and where we want to go. But often sustainability planning feels like binary choices about technologies, policies, and projects. What if there might be a different way to think about that? Today we explore a different kind of metaphor – metamorphosis. Xayide, the alter ego of musician Aura Danielle Muñoz Barragán, has described how metamorphosis implies potential, that “the blueprint for transformation is always there”. We talk about how those ideas of potential and transformation are part of music, sounds, and “the fluidity of life”.     Links and bio   Instagram https://www.instagram.com/xayidemusic/ Chrysalis https://renatura.bandcamp.com/album/chrysalis Label re:natura https://www.instagram.com/label.re.natura/  

A special live edition of sustain.fm featuring drusnoise performing the composition ‘There is no separation’. drusnoise explores the sociomaterial world through light, plants, radio, electromagnetic radiation, heartbeats, and carbon dioxide concentration data. The improvised composition and performance questions the story that we are separate from nature. That nature is separate from us. That nature is for us to control. But we are a part of nature. Nature is part of us. There is no separation. drusnoise performs with modular synthesizers, samplers, sensors, electro-acoustic instruments, climate data and poetic explanations of the performance element with vocals by Erbse followed by an artist talk and Q&A. Recorded live at RBL.LAB Berlin 22.01.2025 Many thanks to Dario and the RBL team for technical support for the performance and live broadcast   Bio drusnoise integrates analog modular synthesizers with digital FX and organic samples to create a style that flows from lush ambient tones to gritty techno.  Known in the outside world as Dr. Steve Williams, his academic work includes conducting and publishing research on sustainable energy transition, sound, and energy justice in Canada, Germany, Sweden, and Norway. He brings plants, heartbeats, light sensors, sonified climate change data, quantum physics concepts, and air quality data to create sustainable live techno and sound art sets. drusnoise is a live, electronic music producer, sound artist, co-founder of Berlin Modular Society, curator of sustain.fm showcasing sound, music, and sustainabiility through live events and workshops, and the host of the Radio Banda Larga show ‘sustain’.  https://rbl.media/en/programs/sustain/ https://instagram.com/drusnoise https://sustain.fm   Steve Williams’ researcher profile https://www.sv.uio.no/iss/english/people/aca/stephegw/index.html https://scholar.google.com/citations?hl=en&user=mHq_ZhEAAAAJ

Welcome to the end of 2024 episode of sustain.fm radio. I can’t believe how fast the year has gone by and it was a nice treat to put this episode together. It gave me a chance to reflect on the incredible variety of artistic approaches to sound, music, and sustainability. I am so grateful to all of the artists who shared their time and sounds with me over the year, and I hope you enjoy their sounds. For this episode, we only have music, no interviews this time. You will hear sounds from all of the artists I interviewed this year ranging from archival sound pieces to techno to sound art compositions to meditations and trash music. Thanks so much to Veronica Mota, Veerle Pennock and Etta Harbor as Parallel Problems, Felipe Vareschi, Monica Sand, Priscilla Haring-Kuipers from This is Not Rocket Science, Melissa Ingaruca Moreno, Juan C. Duarte Regino, Gina Lo, Luis Fernando Amaya for sharing their sounds. And there are some sounds from me – drusnoise – in there too. We have an exciting 2025 coming up with some great guests already on deck, live events planned in Berlin, Oslo, and Lisbon, and some cool research projects starting up soon too. Get in touch with us through sustain.fm or info@drusnoise. We would love to hear your thoughts on our shows, ideas or suggestions for future shows, or if you want to bring a sustain.fm event to your town. Have a great rest of 2024 and will see you next year. For now, enjoy the sounds. Track listing Monica Sand – Elegi Luis Fernando Amaya – Bestiario @luisongolilongo Melissa Ingaruca Moreno & drusnoise – Endarken @mel_ingaruca Gina Lo – Live at Berlin Modular Society @ginalololo drusnoise – Future Soundscapes -  Live in Gothenburg @drusnoise Juan Carlos Duarte Regino – Soundgifts @j.c_d.r Felipe Vareschi – Noise Mapping @frmvar Veronica Mota – Utopie und Widerstand drusnoise – We are but dust and shadows – Live in Graz This is not Rocket Science – Live at Clubsynth @rocket_not Parallel Problems – Live at Voltage Control Amsterdam @elektortek @ettaharbar

In many ways, music is all about relationships. Relationships between musicians, between artists and audiences, between artists and their instruments, even the relationships between sounds and notes in a scale. But we can also think of these relationships inside a wider web of connections. What would it be like to compose and perform music that embeds relationship between humans and non-humans such as plants, animals, or environments? What might that do to how we compose, perform, and listen to music? Today we dive into these questions with Luis Fernando Amaya, a composer and percussionist based in Oslo. Luis Fernando’s music has been performed throughout the Americas and Europe and themes of collective memory and relationships between humans and non-humans are often present in his work.   Bio and Links Born in Aguascalientes, México, Luis Fernando Amaya is a composer and percussionist based in Oslo. Topics such as collective memory and the relationship between humans and non-humans (such as plants, animals, or environments) are commonly present in his work. He studied composition and music theory at the Centro de Investigación y Estudios Musicales (CIEM) and holds a Ph.D. in composition and music technology from Northwestern University.   Amaya's music has been performed throughout the Americas and Europe by performers such as the CEPROMUSIC (México), Arditti Quartet (UK), Lucerne Festival Contemporary Orchestra (Switzerland), Ensemble Dal Niente, Fonema Consort, Yarn/Wire (USA), Oslo Domkor (Choir of the Cathedral of Oslo, Norway), amongst others. He is the recipient of awards and fellowships such as the Residency PRIX CIME (International Electroacoustic Music Competition 2023), a Presidential Fellowship (NU), and representing México in the 61st International Rostrum of Composers of the UNESCO in Helsinki, Finland. As a performer, Amaya is a member of the collective composition and free improvisation trio Fat Pigeon. His scores are published by BabelScores. His monographic album Cortahojas was recently released by Protomaterial Records. https://www.luisfernandoamaya.com Instagram @luisongolilongo Bandcamp  Studies for "Bestiario: seis"  En esta línea contengo un bosque (2018)  Eddie Ortíz-González poetry  PhD Dissertation: Music Composition as a Means to Connect With the More-Than-Human: A Dialogue Between the Works of Walter Kitundu, Liza Lim, and Luis Fernando Amaya   Photo credit  Ana María Bermúdez

Most of the time we think of humans and non-humans as separate things. We experience and live in different worlds. Humans may love nature but are separate from nature. What if that is a wrong – or at least limiting – way to think about it? What would it mean to break down that separation? How might that change our experiences of sound and life with non-humans and nature? I’m your host Steve Williams and today we explore these questions with Gina Lo. We have lots to talk about so be sure to check out the show notes for links to the sounds and get in touch to info@drusnoise.com with your questions and comments. Notes and Links Bio Gina Lo is a Taiwanese-born sound artist, field recordist, and performer based in Berlin. Their work revolves around the creation of immersive sonic environments that explore the fluid boundaries between human and non-human experiences, harmoniously merging the organic with the synthetic. Through live performances and sound installations, Gina employs a blend of electroacoustic instrumentation, field recordings, and custom-designed synthesizers. With a strong emphasis on attentive listening, their improvisational sets transform spaces into ever-evolving atmospheric landscapes. Gina’s connection to nature is rooted in their upbringing on a subtropical island and extensive time spent off the grid throughout East and Southeast Asia, where they immersed themselves in the rhythms of the natural world and the intricate behaviors of wildlife. These encounters form the core of their sonic research, fostering a deep engagement with the elemental forces of nature as a lens for exploring the human condition. Gina’s work invites listeners into a meditative state, where the boundaries between self and environment blur, creating space for deeper reflection and a reconnection with the primal, transformative aspects of the psyche. https://ginalosound.wixsite.com/work/about https://www.instagram.com/ginalololo/ EROOO0oo00​(​O​)​oO​.​0o0​.​oo​.​.​sion - Æther compilation (re:natura, digital) Intuitive Dialogues @ginalolo and @frmvar Harkening Critters https://f-o-m.bandcamp.com/album/harkening-critters Cowie Bay https://f-o-m.bandcamp.com/track/cowie-bay Bornean https://f-o-m.bandcamp.com/track/bornean-anura Signals Festival Sound Installation https://catalyst-berlin.com/about/signals-festival-2021-installations Berlin Modular Society 44 Live performance https://youtu.be/okHrEpze4wc

When people are asked what kind of neighbourhood they want to live in they often say they want a quiet neighbourhood. But by quiet, they do not mean silent! People want to hear the sounds of children playing, birds in the trees, and glasses clinking at cafés but may not want to hear sounds of traffic, construction, or planes overhead. They may want to preserve the sounds of the past or hear something completely different. The Future Soundscapes project connects with local residents to record (on their phones) sounds they want to hear more of and sounds they want to hear less of. The sounds are collected, categorized, and a soundscape of the future neighbourhood co-created with the collaborative inputs of local residents. The project has happened in Gothenburg Sweden and most recently in Utrecht Netherlands. Coming soon to Berlin and Oslo Norway. Today we dive into the why and how of Future Soundscapes and get to hear what happened in Gothenburg and Utrecht.   I’m your host Steve Williams, also known as drusnoise, and today’s episode will be a bit different. Usually I am interviewing an artist about their approach to sound, music, and sustainability. Today I will be talking about my Future Soundscapes project and sharing some excerpts from Gothenburg and Utrecht. I think it is a fascinating approach to futures and I hope you find it interesting too. Definitely send me a DM and let me know in the comments too. My email is info@drusnoise.com Links and references Future Soundscapes https://sustain.fm/fss drusnoise https://drusnoise.com Academic paper on Future Soundscapes  Listen – R. Murray Schafer documentary by National Film Board of Canada https://www.nfb.ca/film/listen/ Jordan Lacey. Sonic Rupture https://www.bloomsbury.com/au/sonic-rupture-9781501338571/ Centre for Sustainable Urban Futures https://urbanfutures.se/en

What does it mean to give voice to nature? To the weather? How can we connect with ecological systems through sound and performance? And what does it mean to attune to nature? Today I am excited to explore these questions – and more.  Juan C. Duarte Regino is an artist-researcher, currently a Ph.D. candidate at Aalto University. Central to his investigation is the relation between the atmosphere, the act of listening, and the profound concept of attunement. His background is in New Media, Design & Production, and Audiovisual Communication. His mission looks beyond conventional, extractive, or deterministic approaches to understanding the relationship between nature and technology. Instead, it ventures into ancient and indigenous knowledge that harmonizes with ecological perspectives on our weather systems, giving voice to the natural agencies at play within the realm of weather. So as you can imagine, Juan is a perfect fit for this show.   Bio Juan C. Duarte Regino is an artist-researcher, currently a Ph.D. candidateat Aalto University. Central to his investigation is the relation between the atmosphere, the act of listening, and the profound concept of attunement. His background is in New Media, Design & Production, and Audiovisual Communication. His artistic endeavors over the last decade have gained recognition and have been showcased at prestigious eventsand venues internationally.His mission looks beyond conventional, extractive, or deterministic approaches to understanding the relationship between nature and technology. Instead, it ventures into ancient and indigenous knowledge that harmonizes with ecological perspectives on our weather systems, giving voice to the natural agencies at play within the realm of weather.His research revolves around the exploration of the symbiotic relationship between nature and technology through environmental sound. His work presents artifacts to resonate with atmospheric energies. In his approach, he proposes diversified technologies for attuning to nature. By doing so, Duarte Regino pushes the boundaries of artistic expression and enables a deeper understanding of our environment and its intricate interplay with technology.     Links www.juanduarteregino.comhttps://juanduarte.bandcamp.com/   Hildegard Westerkamp - Kits Beachhttps://www.hildegardwesterkamp.ca/sound/comp/3/kitsbeach/https://www.youtube.com/watch?v=hg96nU6ltLkSterne, J. (2019). Multimodal scholarship in world soundscape project composition: Toward a different media-theoretical legacy (or: The WSP as OG DH). Sound, Media, Ecology, 85-109.John Durham Peters - The Marvelous CloudsToward a Philosophy of Elemental Mediahttps://press.uchicago.edu/ucp/books/book/chicago/M/bo20069392.htmlAugury:https://juanduarteregino.com/Augury

Sound is one of our most powerful senses. But it is just one of our senses. Sight, touch, smell, and taste are powerful too. And even more powerful when they are combined with sound. Today we talk with Melissa Ingaruca Moreno about her work with light, fungi, meditation, and sound. Melissa is an award-winning futurist and researcher in multispecies design based in Berlin. Her project ‘Endarken’ integrates fungal bioluminescence and sonification of nature with glimpses of darker futures. This is a future of designed light-darkness for multispecies cohabitation with a focus on healing and I am excited to chat with Melissa about how all of these ideas – and senses – fit together. Bio Melissa Ingaruca Moreno  is an award-winning futurist and researcher in multispecies design. Endarken is a research-through-design project of Melissa Ingaruca Moreno´s PhD “Multispecies Cities and Emerging Technologies”, that re-imagines the future of nocturnal urban light for more-than-human wellbeing in Berlin via a series of participatory design workshops.   Links and references Endarken Futures: Darkness as Healing https://melissa-ingaruca.medium.com/healing-in-darkness-endarken-futures-part-i-0d680189ea55 Endarken project overview https://drive.google.com/file/d/1lU7Elq6W2ZzZJMHAKe_IJvEYliCPB0Y4/view Instagram @endarken_cities Floating University https://floating-berlin.org/   Falchi, F. et al. The new world atlas of artificial night sky brightness. Sci Adv 2, (2016). Dunn, N. Dark Design: A New Framework for Advocacy and Creativity for the Nocturnal Commons. International Journal of Design in Society 10, 9–23 (2016). Falchi, F., Cinzano, P., Elvidge, C., Keith, D. & Haim, A. Limiting the impact of light pollution on human health, environment and stellar visibility. J Environ Manage 92, 2714–2722 (2011). Falcón, J. et al. Exposure to Artificial Light at Night and the Consequences for Flora, Fauna, and Ecosystems. Frontiers in Neuroscience vol. 14 Preprint at https://doi.org/10.3389/fnins.2020.602796 (2020). Yang, L., Xiao, L., Guo, Y. & Yan, Y. A review of the effects of artificial light at night in urban areas on the ecosystem level and the remedial measures. (2022). Gallan, B. & Gibson, C. New dawn or new dusk? Beyond the binary of day and night. Environment and Planning 43, 2509–2515 (2011). Zielinska-Dabkowska, K. M. & Xavia, K. Protect our right to light. Nature 568, 451–453 (2019). Pollastri, S. et al. More-Than-Human Future Cities. in ACM International Conference Proceeding Series 23–30 (Association for Computing Machinery, 2021). doi:10.1145/3469410.3469413.

Sound and music are in many ways ethereal and, quite literally, float through the air with no environmental impact. But, especially in the electronic music world, the gear that makes sound, transmits sound, records sound, and drives the dance floor does have an environmental impact. What does that mean for a sustainable electronic music scene? Today we talk with Priscilla Haring-Kuipers of This is Not Rocket Science in Amsterdam about all this and more. Together with her husband Stijn, they design, make, sell and perform with modular synthesizers. Her background is in marketing, social sciences, media psychology and game-based-learning. I have had the chance to talk with Priscilla over the years about their company’s approach to sustainability and I’m excited to go deeper with that conversation today. Bio Priscilla Haring-Kuipers of This is Not Rocket Science in Amsterdam. Together with my husband Stijn we design, make, sell and perform with modular synthesizers. My background is in marketing, social sciences, media psychology and game-based-learning. Will sing. Links TINRS https://www.thisisnotrocketscience.nl/this-is-not-rocket-science/ TINR Sustainability https://www.thisisnotrocketscience.nl/sustainability/ Mastadon https://priscillaharing.info/ Articles at Elektor Magazine https://www.elektormagazine.de/authors/167432/priscilla-haring-kuipers Vocal pack https://thisisnotrocketscience.bandcamp.com/album/vocal-pack-boom-link-to-zip Club Synth https://www.thisisnotrocketscience.nl/clubsynth sustain.fm https://sustain.fm Contact info@drusnoise.com

Sound is an interesting thing. Sounds can evoke emotions like happiness, anxiety, hope, and calmness. But what I find most interesting is how sound can evoke memories. One of my first memories of sound is my Mum playing the organ at church, laying down on the wooden pew and feeling bass in my whole body. Strong memories of family, connection and childhood – all from sound. In the latest episode of sustain, we are talking with Monica Sand – an artist and researcher based in Stockholm and Gothenburg. Monica has a long history of working with sounds and space. And most recently a project in Gothenburg exploring art, buildings, and human bodies as carriers of cultural memory. Today we chat about sound, memory, art, science, buildings, and bodies.   Bio Monica Sand, artist and researcher with a PhD in artistic research, from the School of Architecture, KTH, Stockholm. Sand holds a position as Research Adviser at the Artistic Faculty, and affiliated researcher at the Academy of Music and Drama, at Gothenburg University. From 2011 until 2019 she was coordinating research at ArkDes, Stockholm. At KTH and during a postdoc at Konstfack (University College of Arts Crafts andDesign, Stockholm) she produced courses, walk-shops and lectures based on art and artistic research projects with a focus on collective actions in public space. Earlier art work took place in collaborations with different physics laboratories in Sweden and at CERN, the largest particle laboratory in Europe, Geneva: In between art and science and Acting Physics     Links Playing the Space https://playingthespace.wordpress.com/ Matter Matters – Art, Buildings and Human Bodies as Carriers of Cultural Memory https://playingthespace.wordpress.com/2023/12/18/en-bage-genom-tiden/ Matter Matters Sound Archive by Louisa Palmi https://palmi.org/The-Sound-Archive Important message to the public, VMA: https://soundcloud.com/lur_arkdes/sarafranceschi-elegi-short Forest Improvisations in the Uppsala Cathedral: https://vimeo.com/55853657 City Experiments with students in an exhibition hall: Färgfabriken https://vimeo.com/149003424?from=outro-embed

It sounds simple, but what is noise? Is it unwanted sounds? Is it a set of frequencies? Or is it something that is always around us but something we don’t usually notice? Today we talk with Felipe Vareshi about their compositions and performances that give voice to the quietest and most hidden forms of noise pollution that affect us as individuals and as groups coexisting within urban spaces. We talk about sound, noise, listening, and the potentials of sound as a medium for “possible” futures and of the artist as the enabler for these kind of possibilities. Bio​ Felipe Vareschi is an Experimental Electronic Musician, Performer and Mastering Engineer based in Berlin. Their work explores the way people interact with each other through objects, with a particular focus on the interactions between individuals, technology and nature.  Felipe Vareschi is developing a new musical language where interactions between electronics, sound objects, performers, and installation sites mimic social interactions and human-object networks. Inspired by the physical and imaginary sounds of everyday life, Felipe aims to empower listeners to value and participate in the soundscape around them and embrace the noise of interconnected life.   Links https://www.felipevareschi.com/ https://www.vareschimastering.com/ https://www.instagram.com/frmvar/   Your host Steve Williams / drusnoise https://instagram.com/drusnoise https://sustain.fm

So what is trash really? What is waste? How do we cut down how much we throw away? And what happens when we throw things away? Is that really the end of things? Many groups like Bye Bye Plastic and Clubtopia are thinking about questions like these; how to reduce waste in clubs and festivals, get rid of plastic water bottles and so on. But a different approach is to completely rethink the idea of waste and trash. Today I talk with Veerle Pennock and Etta Harbar from Utrecht in the Netherlands. They are live performers, teachers, makers, and hackers exploring the crossover between e-waste, art, music, and instruments and I am happy to talk more with them about their work and approach to sustainability. And we hear a recording of their heavy-hitting noisy trash music live at Voltage Control Amsterdam.   Show notes and links Performance recordings featured: Modulation, 16.07.2023, de Nijverheid Utrecht, NL Voltage Control Amsterdam, 21.01.2024, Paradiso Amsterdam, NL   Parallel Problems https://www.instagram.com/parallelproblems/ Veerle Pennock https://veerlepennock.com/ Elektrotek https://www.instagram.com/elektortek/ Etta HarBar https://www.instagram.com/ettaharbar/ Acid Solder Club https://www.instagram.com/acidsolderclub/ Intergalactic Cyber Trash Collective https://www.dbstudio.nl/event/expo-opening-wreckage/ Voltage Control Amsterdam https://www.instagram.com/voltagecontrolamsterdam/ Modulation Utrecht https://www.instagram.com/modulationutrecht/ Bye Bye Plastic Foundation https://www.instagram.com/byebyeplasticlife/ Clubtopia https://www.instagram.com/clubtopia

Today we talk about the intersections of sustainability, health, data and sound in drusnoise’s techno composition ‘We are but dust and shadows’. The composition investigates how sonification of air pollution data can be used for modulation of sound, mirroring the ways that unseen particles in the air affect humans and the environment – usually in ways we do not notice or understand. The live experimental techno set features analog and digital modular synthesizers, samplers, FX pedals, iPad granular synths, and analog drum machines. Additional sounds and modulations come from public air pollution data, live sample and loop manipulation, field recordings, and scientific lectures. Guest host JacqNoise (host of the Hijack show on RBL Radio) interviews drusnoise and we talk about sustainability and sound, data sonfication, improvisation, geek out on gear, and more.   Show notes Links and references Data artist: Lisa Knolle Data sources: World Air Quality Index - Graz Air Pollution: Real-time Air Quality Index (AQI), https://aqicn.org/city/graz/ | Das Serviceportal des Landes Steiermark, https://app.luis.steiermark.at/luft2/suche.php European Environment Agency report on Air quality in Europe https://www.eea.europa.eu/publications/air-quality-in-europe-2022 Link to performance at Institut für Elektronische Musik und Akustik, Kunst Uni Graz 23.11.2023 https://youtu.be/CeQQ7NSPBC0 Link to artist talk https://youtu.be/EMHHu3v6zIA JacqNoise https://jacqnoise.cargo.site/ Hijack RBL https://rbl.media/programs/hijack/ Every 1st Saturday at 9pm Gear mentioned Eurorack modules Intellijel MIDI – CV interface https://intellijel.com/shop/eurorack/1u/midi-1u/ Mystic Circuits 3DVCA https://www.mysticcircuits.com/product/3dvca Worng Electronics Soundstage https://www.worngelectronics.com/ Elektron Octatrack https://www.elektron.se/en/octratrack-mkii-explorer Elektron Analog Rytm https://www.elektron.se/en/analog-rytm-mkii-explorer Borderlands granular synth iPad app https://www.borderlands-granular.com/app/ Eowave Quadrantid Swarm https://www.eowave.com/synthesizers/quadrantid-swarm/ Bastl Instruments Softpop SP2 https://bastl-instruments.com/instruments/softpop2 Error instruments Cloud Busting https://www.errorinstruments.com/a-74329068/bricky-format-standalone-box/cloudbusting-gold-xo-brickie/#description Ableton Live https://www.ableton.com/en/ Dust granular synth plugin https://www.soundmorph.com/product/49/dust

When we talk about sustainability, what often comes to mind is climate change, CO2 emissions, wind turbines and solar panels. And of course these are important. But also important are questions of justice, power, and politics – who makes decisions? Who wins and who loses in a more sustainable world? And what are the promises and perils of technical solutions? Today I talk through some of these questions with Verónica Mota. Verónica Mota is a Sound Artist, Musician, Writer & Academic Researching Emancipation & Philosophy of Technology. Born in Mexico City and now based in Berlin, they explore sound as a fundamental inherent human experience and works conceptually researching the political and social impact sound art has. The episode includes an excerpt of their performance at sustain.fm x CTM Vorspiel in Berlin.   Links and references Antonio Negri & Michael Hardt: "Empire" (2000). Octavia E. Butler: "Parabel of the Sower" (1993). Donna Haraway: "Simians, Cyborgs, and Women : The Reinvention of Nature" (2013). Chela Sandoval: "Methodology of the Oppressed" (2000).   Isaac Asimov - Geschichten aus der Zukunft - Arte HD https://www.youtube.com/watch?v=oFKhheiCTKM   Veronica Mota music https://www.instagram.com/777antigona/ https://linktr.ee/veronicamotaberlin “NIHIL” https://camembertelectrique.bandcamp.com/album/nihil UTOPIE & WIDERSTAND https://www.youtube.com/watch?v=PIgzulaEwa8/