2025 Listening Biennial -List of Works
1. Florence Cats / Lilja María Ásmundsdóttir （Belgium / Iceland）
AIR（2025）
“air” is part of the triptych air, water, fire, composed by artists Florence Cats (theremin, voice) and Lilja María Ásmundsdóttir (hulda, voice). Finding inspiration in the qualities of the natural elements, the new duo explores a wide range of frequencies, hybridizing electronic sounds and strings with breath and whistle.
“I was in Reykjavik in November when I received the invitation to take part in the biennial. I immediately had the vision of recording outside, the space, the whistling silence of the air. Air carries sound, air is the medium of sonic vibrations and, somewhere, we breathe sound every day. My first intention was to make field recordings, but it was very windy and my cheap equipment wasn’t suited to the weather conditions. I was also fascinated by the way Icelanders internalize the vastness of the open air, one can feel it in their gaze, art and music. Having attended a concert by the musician and artist Lilja María Ásmundsdóttir, I felt a direct resonance and offered to collaborate with her on my next visit. When I returned in February we played together and the connection proved to be sensitive, musical and telepathic. We decided to work on a tryptic, drawing inspiration from the energies of air, water and fire that shape Iceland and correspond in us to the three alchemical foci. I’m also an acupuncturist, placing needles atprecise points on the body to attune inner energy movements to celestial and terrestrial flows.”
—Florence Cats
Florence Cats‘ work evolves between sound, music, poetry and visual art. Her research concerns the elusive, in relation to perception and notation. She plays the theremin experimentally, interacting with voice, breath, water, radio and tiny handmade instruments. She is also acupuncturist and art curator. In 2023, she was selected as a Belgian emerging sound artist. Her releases are based on field recordings, resulting from free processes, open to nature or to other artists: shell I (Ediçoes CN, 2025), Ys (2022), We are now approaching Mo i Rana (Ftarri, 2024) and Correspondances (Frissons, 2021). She was part of The Asocial Telepathic Ensemble (Corvo Records, 2021) with the piece In the air. She is also an art curator and acupuncturist. Lilja María Ásmundsdóttir is an artist, composer and performer from Iceland. Her practice is centered on explorations of collaborative creativity. Working with sculptural elements of sound and matter, she creates installations, audio-visual pieces, and performances. The works are actively designed to facilitate continuous processes that highlight how ideas surface from correspondences with materials, between individuals, and in context to one’s surroundings. Her works include the sound and light sculpture Hulda which was nominated for the President’s Student Innovation Award, and the living sound sculpture Lurking Creature which she developed in collaboration with the dancer Inês Zinho Pinheiro.
2. Rachel S.Y. CHEN（Singapore）
MY TINY SPACE（2025）
What does it mean to connect with another human being? Connection begins with creating a tiny space: a gentle, intentional opening where difference can be held, and lived experiences can meet. This piece gathers intimate sonic traces born from the world of non-speaking autistic individuals and their families. The piece begins with field recordings from the Magical Musical Mat (MMM), an interactive environment designed to foster connection through interpersonal touch and music. Non-speaking autistic children and their parents improvise with language that is tactile, joyful, and relational. Giggles, fragments of “Ode to Joy,” and layered soundscapes emerge from gentle contact: fingers brushing skin, palms held delicately. This is a tiny space where presence is alive and chosen. Next, the voice of fifi coo, a non-speaking autistic writer, enters, read aloud by the artist (with fifi’s permission). fifi responds to the soundscape with a quiet clarity, reflecting on love in the creation of life’s tiny spaces. The piece ends with a piano composition created in response to fifi coo’s poetry collection a tiny space (2018), which shares his inner world as a non-speaking autistic child. Entitled my tiny space, each of Rachel’s notes dwells gently within the quiet truth of fifi poems. The composition itself is a place where fifi’s words and Rachel’s listening meet: a tiny, shared world where, for a moment, Rachel is invited to belong within fifi’s experience. Sitting above these soundscapes is a violin improvisation by Rachel, who reflects deeply on their journey listening, learning, and unlearning through close encounters with neurodivergent ways of being. my tiny space is, at its heart, an invitation to create spaces where people of all ways of being can come together in shared presence, finding belonging in the act of listening.
At the core of Rachel S. Y. Chen’s work is a deep inquiry into human connection: the sharing of presence with others in ways that are authentic, embodied, and inclusive. Through art, design, and research, their practice is grounded in the belief that intimate connection does not require sameness, speech, or convention. Instead, true connection thrives in spaces where difference is welcomed, and where people listen deeply. Through sound, movement, and improvisation, Rachel creates environments where people can meet one another beyond words. Drawing from their research on the social lives of the neurodivergent community, as well as their love for sonic improvisation, Rachel designs environments that offer gentle invitations to explore intimacy, play, and co-creation. In these spaces, sound and movement become playgrounds for collective improvisation. Rachel believes that even the most divergent worlds can find harmony. Their work invites people to step beyond the familiar, to listen closely, and to co-create new ways of belonging.
3. Kaur Chimuk（India）
MOURN!NG: A FERMENTED RITUAL FOR THE MUNDANE SPIRITS FROM SHUNYOSTHAN (2025)
Kaur Chimuk in ritual with Amy Singh X Pramukho Rupan X RENU
Imagine a prolonged absence— perhaps mis/un/post-heard—where Mourn!ng does not arrive all at once, but ferments with pauses from within our most mundane “moments”. This slow fermentation distills time into memory, leaving us curved into a space where amnesia begins to stir. I found this situation as the spirits of Shunyosthan – Shunyosthan is not a space but a state of entropy, unborn—an opening that invites our randomness to move closer to the highest probability of chaos. It does not merely contain memory; it makes memory possible. It is not the site of remembrance, but responsive. This attempt is an extended practice of exploring counter- rituals across South-East Asia, connecting with the idea of performativity beyond its immediate timeline. Challenging colonial frameworks, can we reexamine the flow of events without absorbing their fractured eventuality? This ritual is conceptualized as a process of cohesive fermentation, where my limited understanding of the scars of partition memory—and its longing for reunion—has been given space to hold, pause, weather, and be fabric-gated through collaboration. This attempt is primarily interested in the death of the image (not just the impression, but what lies beyond it), where signals blur, memories fragment, and notations fall short of capturing space-time, especially in this post-continuous truth. What remains is a kind of sonic absence. Can we read this? More importantly, can we re-hear it through an extended form of listening?
During the process, I aligned with my allies to approach the post-continuous tense from an anti- performance stance. One can engage with this track not only through its flows but also through its seepage—its contradiction to formation and its invitation to a native fermentation toolkit, rather than a deconstruction. So far, I have tried to absorb these fragments and reinterpret them using an R&D methodology: Reverse (knowledge) and Detext (narrative). In this process, rituals become more than cultural markers; they emerge as radical (read:care) agents, capable of breaking free from colonial normative frameworks. This engagement is also an extended solidarity of a larger research anthology, known as “A South-Asian Queer Pamphlet.”
Kaur Chimuk (they/yellow), a trans-binary person engaging with subversive artistic research as a tool for cohesive negotiations around performative temporal representation. Based primarily in South Asia, they work extensively across India and Bangladesh while maintaining an operational base in Sweden. Major working collaboration with Meteor International (Swedish artist network), intrans aka intersectional network for transglocal solidarity (a co-op network between Mexico-India-UK) and zmayat (open-source co-op between Bangladesh and India). Currently kaur is engaging with A South-Asian Queer Pamphlet, which began as a durational curatorial research project focused on glossaries related to transition; over time, it evolved into an immersive, post-cinematic transdisciplinary archive.
// with allies
Amarpali Singh / Amy Singh A poet, performer, and writing facilitator from India, her work explores themes of memory, resistance, longing, and love—often through the lens of Partition, feminism, and inherited silences. She writes in Hindustani, Panjabi, and English, and uses poetry as a medium to connect, remember, and rebuild.
Pramukho Rupan Observing their journey from classical rewaj to challenging institutional frameworks around notions of ‘good’ and ‘bad’ within the musical fraternity. Pramukho Rupan is primarily engaged as a musician, producer, thinker, and sonic explorer—a practitioner whose formal training spans two decades. Now, they are curious to evolve beyond traditional structures, seeking harmony between everyday music and interpersonal sonic memory.
Renu Hossain/RENU is a London-born, Bengali heritage, outernational interdisciplinary artist. She is an Experimental/Electronic/Ensemble Composer & Producer, tabla-player, percussionist and curator.
4. Čhoakkeladd（Kashmir）
PAYAM-E-CHOAKKELADD（2025）
We have a map, we have the inroads, we go in, come out and roll in between the two and you will never find out. Čhokkelad (wounded in Kashmiri), often used in the local news broadcasts when referring to victims of violent events. Payam e Chokkelede gathers the sounds produced while the acts of violence continue to unfold into the everydays. It’s news time.
Čhokkelad is eternally grateful to everyone who contributed to this project through equipment, care, time, effort and attention, and would like to credit Mu, Hi, U, E, Mo, Bu, Mukh, Ha, Ga, Sib and Eh.
Based in Kashmir, Chokeladde’s work extends across media such as installation, video, sound, text and sculpture. Their work seeks to develop vocabularies of time and voids to pose questions on narrativization and history writing in contested territories
5. CHONG Li-Chuan (Singapore)
ON ANY GIVEN DAY（2025）
On any given day, a city hums with the sounds of its own forgetting, Hong Lim Complex, once a site of forced separations and uncertain fates, now stands absorbed into daily life. In 1942, it bore witness to selections that determined who would walk free and who would disappear. Given by whom? Taken from whom?
In CHONG Li-Chuan’s “On any given day” (2025), a soundscape composition drawn from field recordings at Hong Lim Complex, history and the present converge through listening. The act of composition is an excavation — unearthing traces of a site repurposed and redeveloped. His grandfather’s story of a naive escape from death lingers within the work, folded into the city’s soundscape. We are the inheritors of those who survived. To hear is to resist forgetting. To sound is to remember those who have given us the day.
CHONG Li-Chuan (b.1975) is a Singaporean composer passionate about philosophy, culture and the arts. Li-Chuan’s career in music and sound started in the late ’90s, working as a composer and sound artist collaborating with practitioners in theatre, dance, spoken word, architecture, filmmaking, design and visual art. His creative output includes music composition, sound design, field recording, soundscape composition, site-specific art, installation, free improvisation, and collaborative work exploring conversations between different modes of expression and the poetics of sound.
6. Mariana Pinto Coelho Dias (Portugal）
RESONANCES OF AN UNHEARD BODY（2025）
Through sound, bodies expand beyond their visible contours. Following this line of thought, we can say that the “voice” is an extension of our body. This reflection leads us to question the limits of the extension of a human body: how far does a body extend? Who and what are part of it? What are the layers of its existence? Using the principles of Acoustic Ecology, and considering the human body as an undiscovered soundscape, the piece “Resonances of an Unheard Body” aims to highlight the relevance of ‘sound’ and ‘listening’ in perceiving the invisible layers of our existence. The aim is to question the conventional limits of the human body, making it collective, interconnected and permeable to others and to the sound environment that surrounds it. In the same way, this work investigates the relationship between the body and technological devices for capturing sound, as a fundamental factor in expanding our perception of the world. Technology is the resource that allows us to discover and navigate through all the layers of a body’s existence, combining and balancing them. Through it we can realize that, even though we are apparently nowhere, we can be everywhere our body extends. A body that has a plastic structure and behaves like water, changing its shape and adapting to the conditions that nature provides.
Mariana Pinto Coelho Dias is a Portuguese transdisciplinary artist, with artistic work in the field of sound art, experimental video, performance art, and audio-visual installation. Focused on sound studies, more specifically in the Acoustic Ecology, her work is prompted by the desire to contribute to balancing the weight between “sound images” and “visual images” in our perception of the world. She is currently a PhD candidate at the University of Fine Arts in Lisbon (FBA-UL), a research fellow from The Foundation for Science and Technology (FCT), and a member of The Artistic Studies Reseach Center (CIEBA). Exploring the practices of videoperformance and soundscape composition, she is developing an artistic research project entitled “Anthropophony: listening to the soundscape of an ‘expanded (human) body’ through videoperformance practices’”, which seeks the possibility of a consistent engagement between “visual” and “sound images” for the perception of an “expanded (human) body”.
7. MycoDyke（Inida）
AS ABOVE, SO BELOW（2025)
This work is an attempt to hold space for ecological mourning. My practice – and my life – is rooted in fungi and decomposition, through which I’ve come to understand death as a transition: a process that nourishes, reshapes, redistributes, regenerates. But in the summer of 2025, Delhi experienced an early and catastrophic monsoon. Trees died in great numbers, leaving behind stumps, sap-dripping wounds, split trunks, and exposed roots. Their bodies were chopped up and cleared away within days – before fungi could begin their quiet work of unmaking. This was a process cut short: abrupt, arrested, incomplete. There was no rot, no decomposition, no transformation. Just silence.
This work sits with that silence.
In my recordings are the sounds of thunderstorms and post-storm stillness; quiet, fragmented voice notes and soft conversations with the trees; the funerary lament of peacocks; and a need to sense the unseen presences just below the surface. Together, they form an embodied eulogy. A murmur. A staying-with.
To grieve publicly, across species lines, is to me an act of political listening – a refusal to rush on, a refusal to forget. It is this practice of interdependency and “shared worlding” that Third Listening invites, and that this work hopes to embody.
MycoDyke is the fungal alter of Malavika Bhatia, a self-taught field mycologist, artist, and community facilitator. Through their engagement with fungi, they weave together ethnomycological research, community-based practices, and theoretical frameworks to reimagine relationships to place, community, and the more-than-human world. Their living installation ‘Rot & Rapture: Decomposing Binaries’ at Gender Bender 2024 combined fungal cultures with prose and poetry, guiding audiences through intimate dialogues with fungal bodies to examine dissolution as a pathway to fluid states of being. Their art books, including “Fungal Hermeneutics: (De)Compositions in the Academic Forest” and “The ‘Other’ Underground: A Zine of Fungal Queeriosities,” transform academic concepts into affective narratives that propose alternative understandings of queerness in ecology. Drawing on mycelial networks as both metaphor and method, they have developed participatory experiences at Science Gallery Bengaluru, Kiran Nadar Museum of Art, Serendipity Arts Festival, and others, challenging conventional narratives about ecology, community, and belonging.
8. Hear & Found（Thailand）
EARTHSONG: INDIGENOUS HARMONY FROM THAILAND (NATURE SOUNDSCAPE FROM ROTATION FARMING AT MAEPORKEE COMMUNITY)（2024）
Recorded in the Maeporkee community in Tak province, Northern Thailand, this soundscape captures a significant aspect of the Karen people’s traditional way of life: rotational farming, a method rooted in regenerative nature and sustainability. Rotational farming involves the Karen people collectively selecting a communal plot of land for rice cultivation. Before commencing, they perform a ritual to seek permission from Mother Earth. Once granted, they clear the vegetation and prepare the land, planting seasonal vegetables like chilli, coriander, squash, etc. Around mid-year, they cultivate rice, with the harvest typically occurring in November. These crops sustain their families for the entire year. Afterwards, the land is left fallow for three to seven years, with the community returning only to pay respects to the land. This cyclical method naturally produces organic food without chemicals, embodying principles of regenerative agriculture. The Karen people allow plants to grow seasonally and harvest what the season provides, refraining from controlling or harming any living organisms, showcasing a deep understanding of ecological balance. Unfortunately, this traditional knowledge is fading in many Karen communities due to land rights issues, a decline in younger generations continuing the practice, climate change, and the rapid advancement of agricultural technology. There is a concern that this harmonious and sustainable method of living and producing organic food may disappear someday. Deeply impressed by the Karen people’s dedication to preserving this agricultural method for themselves and future generations, the Hear & Found team recorded this soundscape on the morning of September 2024, during the lush green field season before the harvest. In this track, listeners can immerse themselves in the natural sounds of birds chirping, the gentle breeze, and the rustling of the rice field as it sways in the wind, a testament to their sustainable way of life. This soundscape is one of four soundscapes from their Earthsong series, which interweaves sounds of natural environments and music and song from the Karen and Karen Pwo groups.
Hear & Found, a sound collective co-founded by Thai artists Ms. Sirasar Boonma and Ms. Pansita Sasirawuth, was established in Thailand in 2018. Driven by a passion for amplifying marginalized voices, primarily within Thailand, the team creates immersive installations and field recordings to bridge cultural gaps and foster understanding. Their work centers on ethical collaboration with indigenous communities, preserving unique soundscapes and musical traditions. Focusing on sustainability and cultural identity, Hear & Found blends artistic innovation with social impact. They document and share often-overlooked sonic narratives, promoting empathy and awareness. In these six years, their projects have created accessible platforms and reached more than 250,000 people worldwide, working with more than seven ethnic groups and involving over a hundred individuals from these ethnic groups, ensuring that indigenous voices and their rich cultural heritage are heard and celebrated by contemporary audiences.
9. Shwe Wutt Hmon (Myanmar/Thailand)
NOISES ARE QUITE LOUD HERE (2023-ongoing)
This project began as a spontaneous response to my transition from urban life, heightening my awareness of nature’s subtleties—plants, animals, and landscapes. It also reflects my ongoing exploration of various forms of “NOISE,” from the hallucinated sounds I battle to the suffocating
air pollution during Chiang Mai’s notorious smog season. The work consists of a photographic and video installation accompanied by a sonic soundscape, blending analogue photography with scanner-generated images to depict noise’s overwhelming presence in the environment. Color and monochrome images, captured through deliberate and unhurried analogue photography, document my daily explorations of Rimbun Dahan, a 14-acre tropical garden near Kuala Lumpur. Scattered flowers, leaves, and deceased insects gathered from the garden are thoughtfully combined with archival materials on environmental degradation and chaotic social noise, adding depth through scanner imagery.
“Noises Are Quite Loud Here” is a personal introspection on how noise intensifies even in seemingly tranquil environments. It contemplates the profound damage humans have inflicted upon nature and questions whether there is still a chance to mend and protect our ecosystem.
Shwe Wutt Hmon is a photographer and mixed media artist from Myanmar, currently based in Thailand. Shwe’s work focuses on collective histories, familial ties, the knots and threads of human relationships, and exploring the inner psyche through intimate storytelling about people and places dear to her heart. She tells personal stories to connect with and examine broader social aspects; conversely, she works on social documentaries reflecting and drawing from her own position within the context. Shwe uses photography as her main medium and incorporates archives, videos, texts, sounds, poems, paintings, and drawings of her own or in collaboration with others. Shwe’s works have been exhibited in festivals and spaces such as Kochi-Muziris Biennale 2020, Aichi Triennale 2022, Thailand Biennale, Chiang Rai 2023 with ‘Zomia Pavilion’, Singapore International Photography Festival 2020, Photo Australia International Festival of Photography 2022, ArtScience Museum Singapore, Bangkok Art & Culture Centre, Photoforum Pasquart, and Foam Amsterdam.
10. Lynn Nandar Htoo (Myanmar/Cambodia)
NEURAL NET NOCTURNE (2025)
The concept of “home” extends far beyond physical boundaries, encompassing the complexity of memories, cultural touchstones, and deeply ingrained emotional connections. It’s the scent of familiar spices wafting through the air, the rhythmic cadence of a native tongue, the shared rituals that bind generations. These intangible elements form the bedrock of identity, anchoring individuals to their roots even when geographical distance separates them. Yet, the experience of displacement, whether forced or voluntary, can create a profound sense of dissonance. The comforting familiarity of home becomes a phantom limb, an echo of what once was. In its place, a new reality emerges, one that requires adaptation and resilience. The process of navigating this liminal space, between the known and the unknown, can be both challenging and transformative. It necessitates the construction of new communities, the forging of new connections, and the discovery of unexpected strengths. Ultimately, the meaning of home evolves, becoming a fluid concept that transcends physical location, residing instead in the heart and the mind.
Lynn Nandar Htoo a.k.a LnHD is a sound designer, music producer, and DJ originally from Myanmar and now based in Phnom Penh. Named Goethe’s Talent 2024, she has brought her minimalistic and percussive Southeast Asian experimental club sound to international stages, including Berlin’s Pop-Kultur Festival. She has performed in clubs & festivals across Southeast Asia in cities like Yangon, Saigon, Bali, Jakarta, Kuala Lumpur, Hanoi, Bangkok, and Phnom Penh. Her work explores the intersections of identity, culture, and sound, with releases like Jamadevi on the acclaimed Indonesian label Yes No Wave and SLAVE INSTINCTS on ALIGN.ONLINE, a platform celebrating femme and queer voices in Southeast Asia. As the winner of Radio Lab, LnHD continues to redefine boundaries in Southeast Asia’s electronic music scene and she has performed at the renowned CTM Festival, further establishing her reputation as a rising force in the global experimental music scene.
11. LSAC (Lagos Sound Artists Collective) (Nigeria)
PERCEPTIONS (2025)
In some parts of the world, thousands of children are exploited in illegal operations, particularly in the extraction of cobalt, gold, and other valuable minerals that are crucial for global industries, including electronics and electric vehicle batteries. However, much of this mining occurs under dangerous and unregulated conditions and mostly involving child labor. Some call it Essential or Unavoidable reality of the global supply chain because they believe that Certain evils should be maintained because eliminating them would challenge the status quo. Are we saying that some communities should keep suffering and impoverished for some other communities to usurp power?
Contributing Artists: Ibukun Sunday, Michael Akinyele, Babatunde Goodluck, Esther Essien, Olatunde Obajeun and Tosin Oyebisi.
Lagos Sound Artists Collective (LSAC), is an unconventional movement dedicated to reshaping the landscape of auditory experiences through innovative sound exploration. LSAC is committed to fostering a vibrant community of sound artists from Lagos and beyond, while pushing the boundaries of art performance. Through participatory workshops, immersive installations, and spontaneous sonic happenings, LSAC aims to engage audiences in a multi- sensory exploration of sound. Some of our recent works and gatherings are: Sonic Flux: an afternoon of experimental sound in collaboration with Art Twenty One gallery Lagos 2023. Ideas Lab: a dynamic studio designed for diverse performances and experimental works. Co-curated for Afropolis Lagos 2024. Echoes and Balance: An immersive experience where sound meets personal well-being in collaboration with J Randle Centre Lagos 2025.
12. Okui Lala (Malaysia), Ana Estrada (Mexico/Australia), and Nasrikah (Indonesia/ Malaysia)
RE-LISTENING（2025）
《重新聆聽關懷》回訪了《重新想像工作場所》（2024），那是由Okui Lala、Ana Estrada和Nasrikah 與照護者 Uli、Arni、Ryanie、Diane、Leeanne、Madison、Rosie、Dipin和Khushi合作創作的現場表演。該活動最初於2024年12月1日在澳洲昆士蘭美術館與現代藝術館（QAGOMA）演出，聚集了老年照護工作者分享他們的經驗並共同反思照護工作。透過重播原表演四幕中的第一幕《這是一個家》，《重新聆聽關懷》將對話延伸至第二批觀眾，強調照護工作——通常是看不見也聽不見的——值得持續的關注。透過將聆聽作為一種關懷的行動，這件作品邀請觀眾參與到照護工作中所蘊含的勞動、情感和韌性中，並將對話視為一種認可的形式和一個改變的場所。
Okui Lala、Ana Estrada和Nasrikah 三人跨國合作，透過線上會議交流想法並發展以對話、故事講述和社會正義為核心的計畫。Okui經常與家人、朋友、工人和周遭的人合作，探索身份、離散和歸屬感。Ana與老年照護中心的居民和照護者合作，探索故事講述作為連結的工具。Nasrikah是PERTIMIG的創始成員，為在馬來西亞的印尼籍家庭幫傭爭取權益。她們的合作源於對關懷、公平和集體行動的共同承諾——以及真正享受一起工作的樂趣！從《重新想像工作場所》（2024）開始，到《重新聆聽關懷》（2025）延續，她們創造了對話的空間，挑戰並反思勞動與關懷的體系。
13. Nicole L’Huillier（智利／德國）
《集體之風》（Vientos colectivos）（2025）
「大耳朵」（La Orejona）與空氣中的聲波、風的撫摸、地面的震顫以及由人類和非人類實體觸摸引發的振盪等現象互動。與常規的現代麥克風旨在捕捉單一信號不同，「大耳朵」的運作目的是將獨立的信號編織成一個集體且不可分割的噪音，一團厚重、纏繞、混濁的聲音。「大耳朵」是一個噪音的麥克風，一個橡膠質感的聆聽裝置，其核心在於「不可辨識性」的詩學。它的目的不是成為一個精確的測量設備，相反地，它是一個用來混淆信號、模糊、攪亂和遮蔽的裝置。透過這樣做，「大耳朵」旨在以一種振動的邏輯探索世界，以模糊那些劃定我們想像力的僵硬範式和界線。這是一個邀請，讓我們關注其他的編碼，以便我們能重新闡述我們的關係方式和定義我們的敘事；這樣我們才能調諧到我們的振動現實中。「大耳朵」為社會－自然安排和集體即興創作提供了一個移動式的戶外錄音工作室，透過不同的行列和集體活動，邀請觀眾的振動和互動、其所經過空間的共鳴、地方的聲音、地方的風、人聲、管樂器、合成器、樹木和植物的觸摸、水的波浪，以及她周圍的其他實體和振動力量。這件作品是以一場與「大耳朵」（XS）的集體即興行列錄音為音源創作而成，該裝置作為一個移動式薄膜錄音工作室。這場活動於2023年11月一個多雨有風的夜晚，在柏林的Morphine Raum室內外舉行，是「拉丁美洲激進聲音藝術節」的一部分。
Nicole L’Huillier 是一位來自智利聖地牙哥的跨領域藝術家和研究者。她的實踐核心是探索聲音和振動作為建構材料，以深入探討能動性、身份、集體性以及振動想像力的啟動等問題。她的作品透過裝置、聲音／振動雕塑、客製（聆聽和／或發聲）裝置、表演、實驗性作曲、薄膜詩歌和寫作等形式實現。她擁有麻省理工學院媒體藝術與科學博士學位（2022）。她的作品曾在第60屆威尼斯國際藝術雙年展（2024）、伯恩美術館（2024）、上海明當代美術館（McaM）（2023）、斯圖加特ifa畫廊（2023）、聖地牙哥媒體藝術雙年展（2023、2021、2019、2017）、巴登-巴登國立美術館（2022）、柏林跨媒體藝術節（2022）、林茲電子藝術節（2022、2019、2018）、智利聖地牙哥當代藝術博物館（MAC）（2022）、第6屆烏拉爾工業雙年展（2021）和第16屆威尼斯國際建築雙年展（2018）等地展出。
14. Subash Thebe Limbu（林布旺，尼泊爾／英國）
《時空旅人的聲音紀錄》（Sound Recordings of Time Travellers）（2025）
這件作品融合了藝術家先前作品《Ningwasum》（2021）和《Ladhamba Tayem; Future Continuous》（2023）中使用過及未使用的聲音，以及一些未實現計畫的材料。這兩部早期作品都以來自遙遠未來的原住民雅克通（林布）民族的時空旅人為主角：在《Ningwasum》中，Miksam為了尋找父親而來到我們的時間線；而在《Ladhamba Tayem》中，Mikki則回到公元1774年，去見那位抵抗入侵的殖民廓爾喀軍隊的雅克通戰士Kangsore。這件作品將原住民雅克通的旋律和語言與電子音樂、田野錄音、手搖織布機的聲音，以及傳奇雅克通歌手Bhagat Subba歌曲的節錄融合在一起。在作品結尾處，出現了《Ningwasum》中的一段片段，描寫Yangdang Phongma——一個雅克通的命名儀式，新生兒會在此接受祝福，並第一次被展示太陽、月亮和星星。在這裡，時空旅人回憶起母親曾給予她的祝福：
「願你精於編織時間，
迅如光速，
亮如晨星（Tanchhoppa），
聰慧且善良。
能言千種語言，
思維百轉千迴。
永不畏懼前行，
卻也莫忘過往。
願你遊歷眾多星辰，
願星辰如我般歡迎你。
在絕望與悲傷之時，
讓它穿過你，
為更美好的明日而活。
因為我將永遠與你同在——
即使你遠在光年之外，
即使你在另一個時間，
我對你的愛，直到銀河。」
Subash Thebe Limbu 是一位來自雅克通國度（林布旺，現屬尼泊爾東部）的雅克通（林布）族藝術家，其雅克通族名為ᤋᤠᤱᤛᤠᤱ （Tangsang，意為「天空」）。他透過聲音、影像、音樂和繪畫等多種媒介進行創作。基於社會政治議題、抗爭精神及科幻/推想小說元素，他的作品以「阿迪瓦西未來主義」（Adivasi Futurism）為批判視角——這一由他多年探索形成的理論框架——深入探討時間本質、氣候變化與土著性命題。其近期作品《Ningwasum》（2021）與《Ladhamba Tayem；未來持續時》（2023）曾展出於泰特現代美術館（倫敦）、亞太當代藝術三年展（布里斯本）、沙迦雙年展（沙迦）等重要國際平台。蘇巴什是雅克通藝術協會（Yakthung Cho）的聯合創始人，現往返於加德滿都（紐瓦-塔瑪薩靈）與英國兩地從事創作。
15. Elena Lucca（阿根廷）
《棲居、共居、復居以達復魅》（Habitar, Cohabitar, Rehabitar para el Reencantamiento）（2025）
歌聲、話語、風、夜晚、動靜、人聲、寂靜、寧靜、其他對話的聲音，一個在音樂時刻中萬物發生的空間，這讓人想起 Jean-François Augoyard的「懸浮的環境或現象學的存而不論」（l’ environnement suspended ou l’épochè, 1990），一種省略，一種對感知習慣、物體分類和先入之見的懸置，以聆聽在共居空間中發生的事，並將復居此地作為一個敏感知識的詩意過程。2025年3月，在南美洲大查科地區的雷西斯滕西亞市，氣溫連續25天維持在攝氏40至43度之間。 動植物物種以及人類，隨著時間的推移，其生命力逐漸減緩，陷入一種昏睡狀態，在寂靜中等待，直到初秋來臨時，我們才從中甦醒，伴隨著溫和的雨水、溫度的下降和濕度的增加。動靜與聲音緩慢回歸。在這個過渡中，一切都是流動的；漸逝的形式開始重新定義自己；易感的身份變得能滲透到其他快樂、慶祝且渴望對話的身份之中。在復居此地的過程中，懸念與重生在對無數細微交流和地方關係網絡複雜性的感知中浮現。每個事件都遵循其自然進程，形成一個包容性的整體。一場持續的蛻變，生命之循環，道。生命世界的詩學因此成為一場「復魅」。
Elena Lucca是一位藝術家和環境教育家。她擁有法國亞維儂大學空間、時間與權力、文化實踐博士學位。她曾在阿根廷和義大利的大學擔任環境教育家。自1990年以來，她一直擔任法國CAIRH – Roy Hart國際藝術中心的客座講師。自1960年代以來，Lucca探索了實驗性詩歌形式，特別是透過在各國展出的錄像藝術。她還於1969年為查科的國立東北大學（UNNE）組織了國際詩歌節（Jornadas Internacionales de Poesía, JOPOE），並於1971年與Edgardo A. Vigo共同為布宜諾斯艾利斯的藝術與傳播中心（CAYC）策劃了「待實現的提案國際展覽」。憑藉她在森林社群中工作的經驗，Lucca開發了一種名為「我們所棲居空間的地景詩學」的環境實驗性詩歌路線。該作品曾在多個展覽中展出，包括：《復魅》（2016）、《永恆的空間：我們所棲居之地的生態政治詩學》（2019）、《我們所棲居的空間：地球》（2021）、《我們所棲居的空間：空氣》（2021）。
16. Imaad Majeed（斯里蘭卡）
《賈拉尼的提問》（Questions of Jailani）（2025）
《賈拉尼的提問》是一件以聲音為基礎的藝術作品，探索斯里蘭卡庫拉格勒具爭議性的聖地達夫特·賈拉尼——一個神話交疊、軍事化民族主義和宗教正統派在此匯集，扭曲多元歷史的地方。賈拉尼曾是一個香火鼎盛的蘇非派聖殿，如今已成為真偽之爭的戰場——僧伽羅佛教民族主義者試圖將其重塑為一個沒有穆斯林存在的史前考古遺址，而正統遜尼派則拒絕其神秘主義實踐，視之為偶像崇拜。在這場關於起源的鬥爭中，共享的記憶被拆解，以便為單一、純化的敘事讓路。這件與藝術家Abdul Halik Azeez合作收集田野錄音而建構的作品，仔細聆聽這個空間。一名軍事人員正在掃地，而佛教的誦經聲隱約迴盪。我們聽見自然的聲音，而「阿門」的祈禱聲被拉伸成一種幽靈般的回響，擾動了人類與非人類話語之間的界線。受到一位管理員講述與附近「精靈山」（Jinni Malai）的精靈相遇的故事所啟發——那位精靈聲稱我們領域的政治是相互關聯的——這件作品將聆聽視為一種抵抗和思辨的方法。為了試圖聽見超越人類的領域及其所持有的未解記憶，它提問：僧伽羅佛教殖民的聲音是什麼？既然苦行僧（fakhirs）已不再居住於此，那在沉默中還倖存著什麼？《賈拉尼的提問》並非對失落聲音的修復，而是一個邀請，讓我們調諧於所遺留之物：迴響、縈繞，以及跨越時間、信仰和物種的糾葛。
Imaad Majeed 是一位居住在斯里蘭卡可倫坡的跨領域藝術家、策展人和作家。 他們是三語表演平台「KACHA KACHA」的總監和策展人。他們是藝術團體「The Packet」的一員，也是「Packet Radio」（SUPR FM）的VJ/DJ。他們是「Thattu Pattu」的項目協調員和共同策展人，這是一個來自斯里蘭卡邊緣地帶音樂的平台。他們的詩歌已發表於《走出斯里蘭卡：來自斯里蘭卡及其離散社群的坦米爾、僧伽羅和英文詩歌》、《CITY：南亞文學期刊》，以及當地小型出版的詩集《Lime Plain Tea》和《Annasi & Kadalagotu》。他們以各種媒介創作的藝術作品，曾在坦米爾研究研討會、酷兒坦米爾集體、Colomboscope、Chobi Mela、酷兒藝術節、奇緣藝術節、斯里蘭卡現當代藝術博物館、BuchBasel和Spielart戲劇節等場合展出。他們目前正在進行「KANNOORU」計畫，透過取樣音樂探索斯里蘭卡蘇非／穆斯林的身份、社群、記憶、抹除、祖源和神秘主義。
17. Yara Mekawei（埃及）
《以廢棄能量為食》（Feed on Wasted Energy）（2025）
一個盤子：米飯、番茄、綠花椰菜、葡萄——
培根的油滲入石榴糖蜜。
芝麻葉在沉默的重壓下枯萎。
三個女孩。一個四十度寒冬的男人。
黃色的光在他身後匯成一池，一頂黯淡的冠冕，
當他解剖他的餐點——緩慢、條理分明——
對未動的盤子、對女兒們之間
祕密縫合的眼神無動於衷。
歲月在此如地殼板塊般碾磨：
沒有意外，只有信仰脆弱的幾何。
一切環環相扣。
什麼也沒發生——
直到門裂開一道縫。
一個陌生人到來，不請自來。
廚師——他們低語——他的鬍子是
魅力的雕塑，笑聲盤繞在他喉中。
房間僵硬了。
幾分鐘如蠟油般滴落。
然後，他的要求：一杯牛奶。
他從男人手中奪過杯子，獰笑：
我曾在此抽菸。喝牛奶。沒有法律
除了我自己的。
狂野的法則展開——
一場凝視的視差。現在，所有框架都移動了：
每個身體都是運動中的星系，速度恆定，
路徑被緊身衣束縛卻又相對。沒有錨點。
沒有絕對的軸心。只有碰撞的代數：
牛奶灑了，煙霧繚繞，盤子繞著
那未說出口之事的引力運行。
Yara Mekawei 是一位聲音藝術家和學者，探索聲音、建築和城市景觀的交集。她的作品將城市的節奏轉化為沉浸式的聽覺體驗，其中聲音敘事與視覺形式融合。Mekawei的創作根植於深入的研究，從蘇非哲學和《死者之書》中汲取靈感，創作與記憶、身份和文化遺產共鳴的樂曲。她的實踐消除了過去、現在和聲音願景之間的界線。
18. Graciela Muñoz（智利）
《雲中》（In a cloud）（2025）
《雲中》誕生於2025年智利亞南極地區的奧莫拉（Omora）森林。那時，我們進行了田野錄音和傳輸的實驗：信號、回授和轉移，與那裡的昆蟲、苔蘚、地衣和發現的物體相互連結。《雲中》是那次沉浸式體驗的一個片段。
Graciela Muñoz（智利，1982）是一位作曲家、表演者和研究者，擁有智利大學媒體藝術碩士和哲學博士學位。她在巴塞隆納的Phonos基金會獲得了電聲作曲的專業認證。她的作品匯集了在多樣的當代生態中發現的多種媒介、光譜和物質性。她目前正在位於智利亞南極地區的奧莫拉公園進行她的博士後研究計畫。
19. Jacqueline Nova（比利時／哥倫比亞）
《大地的創造》（Creación de la tierra）（1972）
《大地的創造》是一首可以歸類為「磁帶音樂」或「固定媒體電聲音樂」的作品；然而，作曲家始終強調將其描述為一首「為經電子轉換的人聲而作」的作品。它是使用檔案材料創作的，以一位來自烏瓦（U’wa）族（哥倫比亞博亞卡省）原住民的聲音，呈現了創世聖歌的一個片段。這是一個儀式，透過聆聽，文字經歷不斷的蛻變；它們從聲音中溢出，轉化為身體、記憶、領土。在這場長達19分鐘的儀式中，每一步，聲音都帶領我們與其他形式的存在相遇——可見的、不可見的、有形的、未知的、熟悉的、祖傳的。這聲音引導我們初始性地穿越世界，包括人類與非人類的，穿越塵世的、幽靈的或過渡的間隙。這首創世聖歌邀請我們化身為森林、風、昆蟲、打擊樂、合唱團、河流、夜晚。一個Nova並不屬於的社群的聲音，以及一種非她母語的語言的文字，被毫不異國情調地交織在一起，並在一個歷史上將它們邊緣化的脈絡中被放大，從而獲得了深刻的象徵價值。Nova強烈重申了平等共存的權利和無排斥存在的必要性。
文字由Ana María Romano提供。《大地的創造》，1972，由哥倫比亞國家圖書館音樂文獻中心惠允提供。
Jacqueline Nova（比利時根特，1935 – 哥倫比亞波哥大，1975）
Jacqueline Nova在居住於她父親的家鄉布卡拉曼加後，於1958年抵達波哥大。她定居在首都，在國立音樂學院學習成為一名鋼琴家。然而，在1963年，她轉而專注於作曲。她是第一位從該音樂學院獲得文憑的女性作曲家。1967年，她贏得獎學金，前往阿根廷托爾夸托·迪·特拉研究所的拉丁美洲高等音樂研究中心（CLAEM）學習。在Nova的藝術創作中，她對人聲、電子媒介以及混合樂器組合——即將聲學樂器與電子媒介交織在一起的組合——的極大迷戀顯而易見。對她而言，電聲資源必須被整合到當代創作的聲音宇宙中，毫無神秘感，作為另一種可以與聲學樂器有機對話的音樂材料。《大地的創造》於1972年在布宜諾斯艾利斯大學建築學院的音響學工作室誕生。她因骨癌在波哥大去世。她悲劇性的英年早逝不僅中斷了她處於創作潛力巔峰的職業生涯，也直接影響了哥倫比亞電聲音樂的發展。
20. Lujáne Vaqar Pagganwala（巴基斯坦／英國）
《呼吸練習的剖析》（Anatomy Of A Breathing Exercise）（2024）
《呼吸練習的剖析》作為一種聲音再現，試圖將「自我」及其歸屬感的親密空間物質化。源自藝術家的「哼唱計畫」，作品中的口琴聲是她將口琴放入口中進行一系列呼吸練習的結果。藝術家使用空間分類的方法作為理解我們內在心靈和認知的隱喻。《呼吸練習的剖析》是作為「家系列」的聲音延伸而創作的。受到Pauline Oliveros「深度聆聽」的啟發，這件作品多層次地融合了藝術家在倫敦／喀拉蚩屋頂的聲音、口琴的音符和一首遙遠的搖籃曲。對Pagganwala而言，她的屋頂是心靈最深處——潛意識——的平行對照。這種描述是我們作為存在者所穿越的那些無形存在空間的隱喻。這些是不確定和潛伏的空間。在聆聽這場聲音浴時，我們同時存在於所有這些層次中。我們穿梭於每個聲音之間，不斷在這些層面之間擺盪。每個聲音都形成一個空間。每個空間都承載著我們自我的一種存在。更重要的是，這件作品意在對聽眾體驗聲音時的呼吸產生影響，因此作品也具有表演性。
Lujáne Vaqar Pagganwala 是一位對塔、結構、梯子等物體有著深厚親和力的跨領域藝術家。她探究空間的現象學，及作為一種觀念，也作為一種物理實體。Pagganwala的實踐探索在多個時空平面上同時存在的抽象存在，以及我們在這些空間中無所不在的短暫性。從童年空間和城市地貌中汲取靈感，她創造出既好玩、層次豐富又具對抗性的混合現實。她實踐的互動性將這些經驗層層疊加，形成一個永恆的好奇與生成循環。一種流動中混合能量的共存——她稱之為「閃現空間」（Flash Space）。Pagganwala獲得倫敦皇家藝術學院當代藝術實踐碩士學位，並主要在英國和巴基斯坦之間工作。她曾在國內外主要機構展出，如泰德現代美術館、科普蘭畫廊、帆布畫廊、Koel等。Pagganwala見證了她的實踐在不同地理狀態間移動時的變形與突變。這是一種移動的實踐，永遠處於短暫之中，永遠充滿好奇。
21. Amanda Piña（智利／墨西哥／奧地利）
《以手聆聽：一種感官去殖民的實踐》（To listen with the hands. A practice for decolonizing the senses）（2025）
這是一種實踐，一趟引導之旅，一場感官去殖民的實驗。它透過聲音作用於觸摸與專注如何能轉變我們感覺、思考與存在的方式。關於感官如何能被另類使用，以及這對我們的感知有何影響。在我的工作中，我經常進行引導式實踐，旨在轉變我們思考、理解和感受我們身體的方式。今天有太多需要轉變的事物，因為我們意識到我們無法用導致其毀滅的相同工具來修復我們的家園——地球。我提議從身體開始，去轉變我們的身體經驗。這個時代邀請我們成為傳送門，允許其他的存在方式出現，其他的與世界連結的方式顯現，那些更少暴力、更少掠奪、更少恐懼的方式。這是一個轉變我們思考-感受身體方式的實踐，去反學習那些導致這場社會環境危機的過時的現代/殖民範式。這件作品只是一種實踐，與空間和他人一起進行，去探索感官，去瓦解殖民的時間性，去聆聽，去在場，去用手聆聽。我希望你玩得開心；我希望你勇於探索；我希望我們能一起成為傳送門。
致謝：這段聲音名為「暖身」（warm up），由瑞士藝術家Christian Mueller為我的作品創作，作為暖身之用。我的聲音和這段音檔由智利藝術家Marcelo Daza 混音，並在過去十年中透過與許多學生和工作坊參與者的多次教學情境中臻於完善。
Amanda Piña 是一位智利-墨西哥-奧地利裔藝術家，居住於維也納和墨西哥城之間。她的編舞作品關注宇宙政治學，包括在劇場、博物館及其他場域中存在的表演、音樂、錄像和雕塑作品。Piña是一位多面向的藝術家，透過編舞、表演和舞蹈研究進行創作，在大學和藝術教育框架內進行創作、策展和教學，並圍繞她所稱的「瀕危人類動作實踐」撰寫和編輯出版物。她的工作根植於原住民的知識形式和創造／維護世界的方式。她的作品曾在世界各地的劇院、畫廊、博物館和文化中心展出，例如維也納舞蹈區、維也納藝術館、維也納現代藝術博物館、安特衛普deSingel藝術校園、巴黎卡地亞當代藝術基金會、墨西哥大學Chopo博物館、墨西哥、GAM和智利聖地牙哥等。2024年，她獲頒柏林自由大學的Valesca Gert編舞系主任。
22. Ruhail Qaisar（拉達克）
《ZANGRNAMS》（2025）
「我面前是原始的天空，虛空，空無
一陣黑風升起並盤旋，火焰熾燃
峽谷的兇猛紅靈出現在我面前
祂額頭中央是原始覺知的眼睛
身披猩紅斗篷，祂站在一匹紅色的神馬上
祂刺穿我的心臟
血液如海洋的洋流般湧出」
這首樂曲的構想源於七個惡魔兄弟或稱「贊」神的傳說，他們來自康區（西藏東部），並在拉達克定居，成為寺院和神諭的保護者。這首樂曲以他們中最年輕的Zangrnam命名，祂是一位兇猛的神，每年要求三次血祭——傳說延伸至說這位神祇曾下令要一顆八歲孩童的心臟，後來這個祭品被一隻白山羊取代。現今，在Skurbuchan村莊盡頭的一個杜松樹林下，會用一塊肉作為替代品。這首樂曲是對這一儀式行，其恐怖以及這種特定殘酷性的戲劇性的聲音詮釋。
Ruhail Qaisar 是一位來自拉達克列城的藝術家。他目前的實踐圍繞著透過聲音藝術、作曲和拾得雕塑來檢視地方記憶、神話和詩學的線索。自2015年以來，他參與了各種跨類型項目，他在全印度的早期噪音演出被譽為「聲音的味覺清新劑」。他以概念專輯《Fatima》（2023）出道，被《The Quietus》雜誌稱為「縈繞心頭」，由Danse Noire廠牌發行，並附有一本48頁的攝影集，專輯中還邀請了Dis Fig和Elvin Brandhi合作。他為Les Urbaines藝術節委託創作、與Gottfrid Ahman和Michael Anklin合作撰寫的聖歌作品《Three Hymns of Cruelty》（2022），深入探討了拉達克儀隊音樂的動態，並在洛桑的Arsenic演出。他的拾得錄像帶短片《Cenacle 97-98》（2022）曾在蘇黎世美術館、La Becque和蘇黎世Gessnerallee的Parasite O Sinensis活動中放映。他最新的作品《Gods Erupt Like Tumors》是一系列拾得雕塑和一個單聲道聲音裝置，正在瑞士比爾斯費爾登的Salts畫廊展出。他最近完成了在奧地利格拉茨的駐村，為ORF（奧地利廣播集團）的Musikprotokoll音樂節和Steirischer Herbst ’24藝術節準備了一個36聲道三階高保真環繞聲作品《Namkhay Rtsima／天空之脊》，將在Dom im Berg 演出。
23. Superlative Futures（新加坡）
《聽潮（無常之聲）：尋找普陀》（2025）
2025年2月15日，新加坡。
晚上7點30分，低潮位+0.30米。
我們離開城市，希望找到普陀——但不是那個地名所指的山（也是一座島嶼）的地理位置。相反，我們找到的是一個隱喻性的普陀，在一個每月一兩次低潮時才會顯現的潮間帶變幻邊緣。潮水退去而後又返回岸邊的節奏性聲音，讓人想起普陀山腳下那個可以聽見潮汐變化的洞穴。據說，正是在那裡，觀音菩薩（其名意為「觀察聲音者」）透過聆聽潮水的來去而悟道。
《尋找普陀》（2025）是一件15分鐘的聲音作品，以循環的方式重述藝術家從市中心到海岸邊緣再返回的身體移位過程。當潮聲變得可聞時，水泥城市的堅實感在腳下消融，化為泥濘的物質無常性。這件藝術品呼籲人們在日常生活中停下來，觀察潮汐的聲音。每一次的來去，都是一個找到我們小小普陀的機會。
Superlative Futures 是新加坡的一個跨學科設計與研究機構，由Wong Zi Hao和Liu Dian Cong共同創立。該研究實踐以創意的再現模式為核心，倡導新的觀看地景方式，並為城市推測另類的社會想像和未來實踐，以更好地與超越人類的世界建立關係。他們將其設計產出視為一種關懷的實踐。他們曾在新加坡國立大學博物館展出，並獲得新加坡美術館首屆設計研究獎學金（2024-2025）的支持。Wong於2023年獲得新加坡國立大學建築學博士學位，完成了一項關於潮間帶關懷實踐的設計導向研究。除了研究實踐，Wong還在國立大學建築系和新加坡藝術大學（南洋藝術學院）的設計實踐課程中任教。Liu在2024年完成國立大學建築碩士學位後，目前從事建築設計師工作，探索沉積作用和對「地」的另類概念。
24. Irazema H. Vera（祕魯）
《Puna（源自克丘亞語、毛利語）》（2025）
是泉源，也是安地斯高地區域。（Es manantial y también la región de las alturas andinas.）
是開端，是流動的泉水，是靠近天空的輕盈。（El inicio, la fuente que fluye, la ligereza de estar cerca del cielo.）
在這件作品中，我探索記憶與連結的聲音：與我們起源的連結、與我們所生活世界的連結、與我們創傷相關的連結，以及那些呼喚我們靈魂回歸以繼續前行的聲音。正如愛德華多·加萊亞諾在《日子之子》中，為我的生日8月11日所提到的，在他對原住民智慧中家庭／whānau／ayllu意義的詮釋中：
「……
你的家人也在火的爆裂聲中對你說話，
在流水的潺潺聲中，
在森林的呼吸中，
在風的聲音中，
在雷的怒吼中，
在親吻你的雨中，
在迎接你腳步的鳥鳴中。」
（愛德華多·加萊亞諾, 《日子之子》）
在紐西蘭的奧特亞羅瓦，whenua一詞既指土地也指胎盤。因此，我的女兒 Puna，從宇宙-子宮-hapu中出來，離開了whenua，被另一個whenua擁抱，找到了源頭，找到了la puna。
錄音於2019年11月至2025年2月間在紐西蘭奧特亞羅瓦的Te Awanga、Waikaremoana湖和奧克蘭（Tamaki Makaurau）；以及祕魯的普諾、Caritamaya（艾馬拉國度）、Chua Chua（奇洛國度）和利馬進行。
Irazema H. Vera（普諾，1983）是一位祕魯藝術家、音樂家和音樂學家。她的作品圍繞著記憶、音樂和領土；範圍涵蓋聲音工程、音樂製作、紀錄片與敘事性播客、聲音藝術和研究。她以田野錄音和聲景作為其藝術實踐不同路徑的起點，在其中，記憶透過人聲的見證、音樂以及脆弱和受侵犯領土的聲音來表達。她的作品包括她文化遺產來源地普諾高地的克丘亞和艾馬拉文化的音樂傳統和地景，並曾在拉丁美洲SONODOC、巴勒斯坦Radio AlHara、荷蘭RRFM、祕魯Común Radio、英國Cities and Memory，以及廠牌 MATRACA（祕魯-墨西哥）和Eck Echo（祕魯-柏林）的合輯中發表。
25. Valentina Villarroel（智利）
《它們是我的聲音》（They are my voices）（2025））
它們是我的聲音，
一片無盡織物的碎片。
我與葉的低語融合，
與火車的遠方歌聲，
與雨的液態節奏。
我模仿，我重複，我重塑自我。
Valentina Villarroel 是一位聲音藝術家和聲音記錄者，她探索各種南方生態系統中錯綜複雜的動態。她的作品圍繞聲學生態學的深遠潛力，特別是在面對不斷侵占自然空間的房地產開發時。她也深入研究聲音污染對眾多物種的後果，這些污染導致牠們的數量下降或消失。近年來，她的關注點擴展到城市聲景和重要的聲音事件，例如智利的「十月十八日」抗議活動。她在應用於人類和動物福祉的生物聲學方面擁有堅實的背景。她的專輯深入探討了可聽與不可聽聲景的世界，以及它們賦予我們對現實另類認知的能力。
26. 嚴瑞芳（香港）
《黑鬼蹤跡》（Black Ghost Trail）（2025）
聲音或聲音遊戲如何能喚起記憶或重新具現化一個地方的感受？受到香港本地客家村落川龍一位居民在60、70年代童年經歷的啟發，這件作品探索了他年輕時在自然與人造元素中的生活，例如來自大帽山的溪流、一條充滿風和松樹的山路，以及墓地周遭的環境。對於城市居民來說，與各種物種互動、玩耍和感知的能力似乎已經喪失。我們能否重新奪回這種開放性，作為對同質化城市生活的一種抵抗？以聲音為載體，將過去與現在編織在一起，並作為參與村落記憶的一種方式，我使用田野錄音來記錄和重組川龍村。這包括尋找線索、創造遊戲、玩耍和漫遊，以引發新的反應。剪輯過程就像一場反覆出現的聲音遊戲，喚起幽靈般的童年記憶。
嚴瑞芳 是一位駐香港的藝術家，同時也是香港中文大學的助理教授，她的實踐跨越社會參與藝術、集體學習和聲音。透過參與式聆聽環境和以聲音為基礎的裝置，她活化了記憶和共享的能動性——取材於口述歷史、次要檔案和特定場域的聲景。她的作品將聲音框定為一種抵抗的媒介和一種協作知識生產的方法。她是「天台塾」（Rooftop Institute）的共同創辦人，倡導將藝術學習作為一種社會參與的模式。她也擔任HASS Lab的董事會成員，推廣由藝術家主導的社會包容方法，並且是「參與的生態」的發起人之一，這是一個連結實踐性創作與公民參與的跨學科平台。作為香港藝術發展獎青年藝術家獎（視覺藝術）和WMA大師獎的得主，Yim的實踐典範了社會參與式聲音藝術如何能催化交流、放大被忽略的聲音，並預演集體記憶的新形式。
27. zeropowercut（印度）
《bujhat naikhe》（無法理解）（2024）
這首歌是對陽剛特質的反思，講述一個人在自己建造的茅草屋裡尋找自我的故事。這首歌以博杰普爾語演唱，探索了「尼爾古恩」（Nirgun）：一種思維和歌唱的形式（一種藝術形式和一種哲學）。簡而言之，「尼爾古恩」是認識到世界和事物是無法掌握的，因此，透過物質性和經驗來實踐智性（和可理解性）。這首原創歌曲是一部名為《Lattar》「藤蔓」的音樂劇製作的一部分，該劇探討了「那奇」或「Launda Naach」藝術家的生活，他們因「男扮女裝」的實踐而在這個父權和種姓封建的世界中聲名狼藉。這首歌由已退休的Launda Naach藝術家Sunaina演唱（人聲和音樂），由戲劇專業人士兼歌手表演者Raju Ranjan與獨立研究者兼藝術家Piyush Kashyap合作撰寫。《Lattar》是由位於印度班加羅爾的媒體與藝術團體Maraa為其2024年十月名為「石頭花」的Jam活動所委託創作。zeropowercut也感謝Sipahi，一位那奇藝術家及Lattar團隊的共同成員，以及Puneet，他在《Lattar》製作期間慷慨地提供了食宿。
zeropowercut創作藝術是為了找出壓迫如何隱藏在平凡之中。他們談論自我貶抑和解離，專注於基於種姓壓迫的各個方面「首陀羅化}，這種壓迫從即時到歷史和文明領域，抹殺了勞動人民體驗和獲取知識的能力。
zeropowercut 在霸權性邊緣化和被剝奪的「我們－的－起源－世界」中生活和工作，以個人和集體的方式創作作品，常常將生產場所轉變為原本隔離的社會性和文化的交匯點。zeropowercut使用日常物品、俗語、語言、聲音和氛圍來創作裝置、互動、歌曲、戲劇和研究報告，主要使用演講、紀錄片和散文的模式。
