A window into our world, through in-depth storytelling from the BBC. Investigating, reporting and uncovering true stories from everywhere. Award-winning journalism, unheard voices, amazing culture and global issues.
From Trump's new world order, to war in Sudan, to the legacy of football icon Mo Salah, The Documentary investigates major global stories.
We delve into social media, take you into the minds of the world's most creative people and explore personal approaches to spirituality. Every week, we also bring together people from around the globe to discuss how news stories are affecting their lives.
A new episode most days, all year round. From our BBC World Service teams at: Assignment, Heart and Soul, In the Studio, OS Conversations, The Fifth Floor and Trending.
A window into our world, through in-depth storytelling from the BBC. Investigating, reporting and uncovering true stories from everywhere. Award-winning journalism, unheard voices, amazing culture and global issues.
From Trump's new world order, to war in Sudan, to the legacy of football icon Mo Salah, The Documentary investigates major global stories.
We delve into social media, take you into the minds of the world's most creative people and explore personal approaches to spirituality. Every week, we also bring together people from around the globe to discuss how news stories are affecting their lives.
A new episode most days, all year round. From our BBC World Service teams at: Assignment, Heart and Soul, In the Studio, OS Conversations, The Fifth Floor and Trending.

How fixed is the borderline between human music and the sounds of nature? That is a question that guides the work of Los Angeles-based composer Alexey Seliverstov. In this programme, Regan Morris follows Alexey’s creative process from recording the dawn chorus in the Santa Monica mountains, through the ingenious transformations of the field recordings to the finished multi-channel and multi-sensory installation for the Shelemay Sound Lab at Harvard University. There is more to Alexey’s music than first meets the ear: some of the ‘birds’ are actually the sounds of his own and his brother’s voices recorded when they were children and altered beyond recognition by Alexey’s sophisticated processing. Adding ear-prints of empty spaces to the sounds of chirping synthesisers, similar to the effect of repeated exposures on an old-fashioned camera film, draw us further into Alexey’s imaginary landscapes. Are these soundscapes artificial or still mostly natural? How does mixing the sounds of nature and sounds that we associate with humans, such as pianos, alter our idea of what music can be?