Cona events source

Chronolith consists of a complex multi-channel sound composition and stone slab installation. In the work, the bioacoustic group Jata C investigates the acoustics and temporal dimensions of stone structures and their sustainability and interdependence with humans.

The artists obtained the sound material for the composition via field recordings of various locations and quarries. The installation serves as a stone instrument, a sensory extension of the human body, with which the composition and the vibrations of the stones are fed back into the materiality of the slabs with the help of transducers, forming a feedback loop. During the production of the work, the artists collaborated with scientists from micropaleontology, geology and physics, and the supporter of the project, the company Marmor Hotavlje.

beepblip [Ida Hiršenfelder], a member of Jata C, wrote about the work:
To think of geological time, the time of the sailing rocks, the time of the lithosphere, and the time of the continents is to think of our insignificance in the big picture, our mortality (dust to dust), and fleeting transience. It is a realisation that might motivate us to stop the insane depletion of the Earth and instead marvel at its mighty delicacy and appreciate the innumerable entities that shaped it in the volatile space and aeons of time. The rocks from the mountains used to be the seabed. The first organic matter in soil was produced by bacteria. Much limestone on the Earth originates from the activity of coccolithophores, unicellular algae covered in calcium carbonate scales. Like us, they are both alive and dead, organic and inorganic. We know too well such distinction is needless; however, it matters what worlds world worlds.[1] It is almost impossible to find a place on the planet not dictated by humans or at least transfigured as the consequences of human interventions. To the world, a different world, ruled by reciprocity and not authority, requires internalising different questions. Jata C asks, “How can we hear a stone and its aeons?”

[1] Donna J. Haraway. Staying with Trouble. Min in the Chthulucene. Durham and London: Duke University Press, 2016, p. 35. “It matters what worlds world worlds. It matters what stories tell stories.“

Multichannel Sound Installation

In the live sound event, Jata C performs Kronolit based on a precomposed score that allows for improvisation. Using a multichannel spatial sound system, sound moves between rocks and walls, resonates through the stone slabs, and evokes a tangible presence of geological time.

Live Sound Event

The installation invites visitors into a stone-based resonant space, where the sound narrative opens up a different experience of time — slow, massive, and all-encompassing. The composition interweaves sounds of cracking, grinding, vibrating, and distant echoes — embedded in a narrative of Earth that does not borrow rhythm from humans but shapes its own across the eons.

Since entering the third millennium, we have been witnessing the deterioration of Earth’s ecosystems as well as growing crises within modern civilization. I am convinced that it is not possible to repair the three-dimensional planet Earth as it is fundamentally a creation of the human mind.

The purpose of the project Creating Gaia Culture is to establish direct communication with the consciousness of the Earth – Gaia – and, starting from small groups of dedicated people, to develop a new civilization in cooperation with Gaia and the co-creators of the multidimensional Earthly universe.

The project was published in the book Creating Gaia Culture (Clairview, 2021) and further articulated through the Geocultural Manifesto, written with charcoal on the wall of the Museum of Contemporary Art in Ljubljana as part of the exhibition Emergency Exit (2021–2022).

Through this project, I seek to demonstrate how Gaia culture is already being realized within the urban fabric of Ljubljana, even if its inhabitants are often unaware of it.

Chronolith consists of a complex multi-channel sound composition and stone slab installation. In the work, the bioacoustic group Jata C investigates the acoustics and temporal dimensions of stone structures and their sustainability and interdependence with humans.

The artists obtained the sound material for the composition via field recordings of various locations and quarries. The installation serves as a stone instrument, a sensory extension of the human body, with which the composition and the vibrations of the stones are fed back into the materiality of the slabs with the help of transducers, forming a feedback loop. During the production of the work, the artists collaborated with scientists from micropaleontology, geology and physics, and the supporter of the project, the company Marmor Hotavlje.

beepblip [Ida Hiršenfelder], a member of Jata C, wrote about the work:
To think of geological time, the time of the sailing rocks, the time of the lithosphere, and the time of the continents is to think of our insignificance in the big picture, our mortality (dust to dust), and fleeting transience. It is a realisation that might motivate us to stop the insane depletion of the Earth and instead marvel at its mighty delicacy and appreciate the innumerable entities that shaped it in the volatile space and aeons of time. The rocks from the mountains used to be the seabed. The first organic matter in soil was produced by bacteria. Much limestone on the Earth originates from the activity of coccolithophores, unicellular algae covered in calcium carbonate scales. Like us, they are both alive and dead, organic and inorganic. We know too well such distinction is needless; however, it matters what worlds world worlds.[1] It is almost impossible to find a place on the planet not dictated by humans or at least transfigured as the consequences of human interventions. To the world, a different world, ruled by reciprocity and not authority, requires internalising different questions. Jata C asks, “How can we hear a stone and its aeons?”

[1] Donna J. Haraway. Staying with Trouble. Min in the Chthulucene. Durham and London: Duke University Press, 2016, p. 35. “It matters what worlds world worlds. It matters what stories tell stories.“

Multichannel Sound Installation

In the live sound event, Jata C performs Kronolit based on a precomposed score that allows for improvisation. Using a multichannel spatial sound system, sound moves between rocks and walls, resonates through the stone slabs, and evokes a tangible presence of geological time.

Live Sound Event

The installation invites visitors into a stone-based resonant space, where the sound narrative opens up a different experience of time — slow, massive, and all-encompassing. The composition interweaves sounds of cracking, grinding, vibrating, and distant echoes — embedded in a narrative of Earth that does not borrow rhythm from humans but shapes its own across the eons.

Starting from text scores and protocols contributed by Pauline Oliveros, the Blank Noise collective and Elena Biserna, this collective walk functions as a platform to reflect together on gendered listening experiences in public space and to unlearn behaviours assumed to be appropriate, safe or expected while walking.

Considering urban planning and the social organization of space and time as systems that co-produce power relations, including patriarchal ones, the walk aims to question existing asymmetries, share experiences and collectively imagine practices of attention, care, resonance, solidarity, re-appropriation or refusal that might propose other ways of occupying public space. Feminist Steps is an invitation to listen to our feelings and our relationship to urban otherness, and a call to reclaim public space through the vibration of bodies, presence, steps, voices, words and screams.

The Feminist Steps workshop is intertwined with the Sono-soro workshop, which serves as an introduction to Amanda Gutiérrez’s soundwalk of the same name. The Sono-soro workshop is based on listening and sound recording through a walking score, opening reflections on positionality, intersectionality and collaborative care.

The story opens perspectives on the architecture of Edvard Ravnikar and his collaborators in the construction of Cankarjev dom.

The authors incorporated numerous quotes and reflections by architects, as well as politicians and cultural figures connected with the building of Cankarjev dom. These are interwoven with poetry and drama by selected artists. The subtle and semantically multilayered soundwalk outlines the period of construction and the architecture of the building itself in the context of the present, offering a deeper understanding of its historical and cultural background.

The audio narrative also touches upon Ravnikar’s wider creative oeuvre, from the design of Republic Square as a demanding and long-term spatial intervention to his pedagogical work at the School of Architecture in Ljubljana. In his characteristic understanding of urban space, Ravnikar involved numerous architects and students who, in dialogue with politics and the broader professional field, laid the foundations for high-quality spatial design in a modernist Mediterranean spirit.

The night sound walk takes us on a search of silence and listening to the inaudible, during the time of the night moths yamamayu, which represent the syntropic bonds between distant and nearby territories. The night sound walk takes us into the magical world of nocturnal butterflies, which, as symbionts, represent the syntropic links between nature and culture in Tivoli Park. The series of listening scores aims to intervene in the dominant perceptual agenda and highlight the potentials of aural perception. Hearing is closely related to the capacity for a complex understanding of reality and compassion, the basis for inclusive resonance. How to listen to the invisible? How to perceive beings that do not want to be heard?

Listening to the seemingly inaudible and wandering in night landscapes (which can also be just a reduction of the visual field and listening to the tiny impulses of one’s own body and anima) addresses the sonority of the apparent silence and bioacoustics from the direction of the territory. Japanese silk moths (Antheraea yamamai) inhabit tall deciduous forests, living primarily high in the treetops. These nocturnal butterflies leave behind large light green silk cocoons. Dislocated nocturnal incomers, they managed to flee into the open canopy of the surrounding trees when the locals ventured into silk farming a century ago. Originating in the hills of Japan, they have spread across south-east Europe.

YAMAMAYU Night Wanderings drew on the artist’s ongoing poetic exploration of Japanese silk moths and moths in general, echolocation, the ability of nocturnal moths to absorb sound as protection against predators, silence, the modality of moving/not moving, and the sophistication of the personal aural field in terms of territory.

The story opens perspectives on the architecture of Edvard Ravnikar and his collaborators in the construction of Cankarjev dom.

The authors incorporated numerous quotes and reflections by architects, as well as politicians and cultural figures connected with the building of Cankarjev dom. These are interwoven with poetry and drama by selected artists. The subtle and semantically multilayered soundwalk outlines the period of construction and the architecture of the building itself in the context of the present, offering a deeper understanding of its historical and cultural background.

The audio narrative also touches upon Ravnikar’s wider creative oeuvre, from the design of Republic Square as a demanding and long-term spatial intervention to his pedagogical work at the School of Architecture in Ljubljana. In his characteristic understanding of urban space, Ravnikar involved numerous architects and students who, in dialogue with politics and the broader professional field, laid the foundations for high-quality spatial design in a modernist Mediterranean spirit.

The story opens perspectives on the architecture of Edvard Ravnikar and his collaborators in the construction of Cankarjev dom.

The authors incorporated numerous quotes and reflections by architects, as well as politicians and cultural figures connected with the building of Cankarjev dom. These are interwoven with poetry and drama by selected artists. The subtle and semantically multilayered soundwalk outlines the period of construction and the architecture of the building itself in the context of the present, offering a deeper understanding of its historical and cultural background.

The audio narrative also touches upon Ravnikar’s wider creative oeuvre, from the design of Republic Square as a demanding and long-term spatial intervention to his pedagogical work at the School of Architecture in Ljubljana. In his characteristic understanding of urban space, Ravnikar involved numerous architects and students who, in dialogue with politics and the broader professional field, laid the foundations for high-quality spatial design in a modernist Mediterranean spirit.

The story opens perspectives on the architecture of Edvard Ravnikar and his collaborators in the construction of Cankarjev dom.

The authors incorporated numerous quotes and reflections by architects, as well as politicians and cultural figures connected with the building of Cankarjev dom. These are interwoven with poetry and drama by selected artists. The subtle and semantically multilayered soundwalk outlines the period of construction and the architecture of the building itself in the context of the present, offering a deeper understanding of its historical and cultural background.

The audio narrative also touches upon Ravnikar’s wider creative oeuvre, from the design of Republic Square as a demanding and long-term spatial intervention to his pedagogical work at the School of Architecture in Ljubljana. In his characteristic understanding of urban space, Ravnikar involved numerous architects and students who, in dialogue with politics and the broader professional field, laid the foundations for high-quality spatial design in a modernist Mediterranean spirit.

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The speculative story of the soundwalk performance garden GOround points to the problematic relationship between people and plants, which is geared to mainly benefit people. The colonialism itself and the human-mediated dispersal of plants capitalize on the subjection and exploitation of nature. It is vital to radically change this attitude if we want to deal effectively with the existential threat of ecological crisis and contemplate a brighter scenario for the future. To become more familiar with the world of plants, garden GOroundgoes into the temporal dimension. Through the prism of the journeys of these two utterly different temporalities of humans and plants, seemingly offering no possible point of encounter, it speculates on the development of a future solidarity-based coexistence of humans and plants. Plants, the most populous species on the planet, live at their own pace in their own time, walking the paths we cannot access. garden GOround will take us along the paths of a possible future scenario for our overstressed, noisy planet mirrored through the development of local greenways. Can we learn from plants to build a more solidarity-oriented future?

The audience experiences the soundwalk through specially developed headphones used as a tool to speculate the world and the sonic landscape of the future. The world is getting too loud and harmful for our sensitive ears, which have failed to adapt to aggressive frequencies. To survive outdoors, we will need headphones that will both mute and sharpen the sound image and, at the same time, take us into the acoustic narrative.

The soundwalk is broadcast on an AR (augmented reality) headset, the result of an innovative  in-depth collaboration between the artist and hardware and software developers. The AR headset allows for simultaneous amplified, binaural ambient listening and audio co-composition. They also include an FM receiver module and an EMS sensor input.

The soundwalk path connects the Orangerie Park in Strasbourg and the Tivoli Park in Ljubljana, both designed during the reign of Napoleon. The featured photograph was taken in a disrupted avenue locked today between a road and a railway. It is part of a larger avenue complex in the Tivoli Park, designed by the French at the time of the Illyrian Provinces. The vocalist, dressed in a Slovene folk costume, wears original AR headphones and listens to the landscape.

A testimony form one of the participants of the AR soundwalk:

The sound of an uncut, wild meadow, the rustling of the wind from the nearby canopy, the singing of birds in the bushes and the chirping of the swallows of the neighboring house are interspersed with the evening call of murres and the hum of a sleepy bumblebee… between the pillows. Like a wide, soft bosom, where the sound of the evening, summer meadow intertwines with the breathing and heartbeat of a loved one. The day lounge, arranged as a space with soft, sound cushions, encourages participants to listen quietly and actively. The musical composition, played on a multi-channel two-level sound system, is complemented by sound cushions and allows babies, toddlers and their caregivers to rest.

Chronolith consists of a complex multi-channel sound composition and stone slab installation. In the work, the bioacoustic group Jata C investigates the acoustics and temporal dimensions of stone structures and their sustainability and interdependence with humans.

The artists obtained the sound material for the composition via field recordings of various locations and quarries. The installation serves as a stone instrument, a sensory extension of the human body, with which the composition and the vibrations of the stones are fed back into the materiality of the slabs with the help of transducers, forming a feedback loop. During the production of the work, the artists collaborated with scientists from micropaleontology, geology and physics, and the supporter of the project, the company Marmor Hotavlje.

beepblip [Ida Hiršenfelder], a member of Jata C, wrote about the work:
To think of geological time, the time of the sailing rocks, the time of the lithosphere, and the time of the continents is to think of our insignificance in the big picture, our mortality (dust to dust), and fleeting transience. It is a realisation that might motivate us to stop the insane depletion of the Earth and instead marvel at its mighty delicacy and appreciate the innumerable entities that shaped it in the volatile space and aeons of time. The rocks from the mountains used to be the seabed. The first organic matter in soil was produced by bacteria. Much limestone on the Earth originates from the activity of coccolithophores, unicellular algae covered in calcium carbonate scales. Like us, they are both alive and dead, organic and inorganic. We know too well such distinction is needless; however, it matters what worlds world worlds.[1] It is almost impossible to find a place on the planet not dictated by humans or at least transfigured as the consequences of human interventions. To the world, a different world, ruled by reciprocity and not authority, requires internalising different questions. Jata C asks, “How can we hear a stone and its aeons?”

[1] Donna J. Haraway. Staying with Trouble. Min in the Chthulucene. Durham and London: Duke University Press, 2016, p. 35. “It matters what worlds world worlds. It matters what stories tell stories.“

Multichannel Sound Installation

In the live sound event, Jata C performs Kronolit based on a precomposed score that allows for improvisation. Using a multichannel spatial sound system, sound moves between rocks and walls, resonates through the stone slabs, and evokes a tangible presence of geological time.

Live Sound Event

The installation invites visitors into a stone-based resonant space, where the sound narrative opens up a different experience of time — slow, massive, and all-encompassing. The composition interweaves sounds of cracking, grinding, vibrating, and distant echoes — embedded in a narrative of Earth that does not borrow rhythm from humans but shapes its own across the eons.

The work of Robertina Šebjanič explores the sonority of the sea in a vertical strip deep below and above the surface. With its evocative title, the artist refers to one of the deepest points in the southern Adriatic, conveying a message of empathy and solidarity in coexistence with more-than-human beings and ecosystems. The poetic audiovisual work invites an immersive exhibition experience and encourages reflection on humanity’s impact on oceans.

Line | +1233m –1233m is a poetic audiovisual work that examines the sonority of the sea across vertical layers to inspire reflection on new ecological realities of the Anthropocene. Vertical migration between ocean layers represents one of the largest daily and seasonal migration routes in the marine world, undertaken by millions of animals across all oceans and seas. In this project, the artist symbolically addresses such movement by referencing one of the deepest points in the southern Adriatic (–1233m).

At the core of this intermedia work lies the concept of empathy and solidarity in coexistence with more-than-human entities. As a counterpoint, the artist highlights the importance of awareness of the shared environment and encourages critical reflection on its ecological vulnerability.

The work is based on datasets of temperature, salinity and water hardness in the southern Adriatic over the past 30 years, as well as measurements conducted by the artist between 2021 and 2022. These were analysed in collaboration with the Institute for Marine and Coastal Research at the University of Dubrovnik and artificial intelligence expert Tanja Minarik. Through sonification of biogeochemical datasets and the use of original sound recordings made above and below the water surface, the artist reveals previously unexplored sonorous environments of marine depths, placing them in dialogue with the airiness of the landscape above.

The work of Robertina Šebjanič explores the sonority of the sea in a vertical strip deep below and above the surface. With its evocative title, the artist refers to one of the deepest points in the southern Adriatic, conveying a message of empathy and solidarity in coexistence with more-than-human beings and ecosystems. The poetic audiovisual work invites an immersive exhibition experience and encourages reflection on humanity’s impact on oceans.

Line | +1233m –1233m is a poetic audiovisual work that examines the sonority of the sea across vertical layers to inspire reflection on new ecological realities of the Anthropocene. Vertical migration between ocean layers represents one of the largest daily and seasonal migration routes in the marine world, undertaken by millions of animals across all oceans and seas. In this project, the artist symbolically addresses such movement by referencing one of the deepest points in the southern Adriatic (–1233m).

At the core of this intermedia work lies the concept of empathy and solidarity in coexistence with more-than-human entities. As a counterpoint, the artist highlights the importance of awareness of the shared environment and encourages critical reflection on its ecological vulnerability.

The work is based on datasets of temperature, salinity and water hardness in the southern Adriatic over the past 30 years, as well as measurements conducted by the artist between 2021 and 2022. These were analysed in collaboration with the Institute for Marine and Coastal Research at the University of Dubrovnik and artificial intelligence expert Tanja Minarik. Through sonification of biogeochemical datasets and the use of original sound recordings made above and below the water surface, the artist reveals previously unexplored sonorous environments of marine depths, placing them in dialogue with the airiness of the landscape above.