Cona events source

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.

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 multi-channel sound installation Vitreous Sky by intermedia artist Marko Batista continues his exploration of contemporary post-fact society in relation to technological progress and the interconnectedness of society, nature and technology within the framework of ecocritical discourse, environmental policies and current humanist concepts such as nature, the Anthropocene and the capitalist colonial matrix.

The work builds upon Batista’s earlier projects, particularly Fluid Particles of Volcanic Ash, in which the indirect presence of humanity is revealed through devastated landscapes and traces of (post)humanoid existence. At the core of the exhibition are two precisely crafted interactive hybrid visual-sound objects, prototypes of a dystopian habitat of the future, addressing the project on both symbolic and practical levels.

The installation consists of a visual and a sonic component. The visual part is formed by a two-part mimetic installation with a post-natural environment produced using 3D printing, establishing a dialogue between urban and rural habitats. The sonic structure is based on the electrolysis of toxic compounds, which generate sound through processes of self-oscillation and extraction within an expanded electronic system. By attributing agency to matter itself, the work remains open-ended and allows space for unpredictability.

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 multi-channel sound installation Vitreous Sky by intermedia artist Marko Batista continues his exploration of contemporary post-fact society in relation to technological progress and the interconnectedness of society, nature and technology within the framework of ecocritical discourse, environmental policies and current humanist concepts such as nature, the Anthropocene and the capitalist colonial matrix.

The work builds upon Batista’s earlier projects, particularly Fluid Particles of Volcanic Ash, in which the indirect presence of humanity is revealed through devastated landscapes and traces of (post)humanoid existence. At the core of the exhibition are two precisely crafted interactive hybrid visual-sound objects, prototypes of a dystopian habitat of the future, addressing the project on both symbolic and practical levels.

The installation consists of a visual and a sonic component. The visual part is formed by a two-part mimetic installation with a post-natural environment produced using 3D printing, establishing a dialogue between urban and rural habitats. The sonic structure is based on the electrolysis of toxic compounds, which generate sound through processes of self-oscillation and extraction within an expanded electronic system. By attributing agency to matter itself, the work remains open-ended and allows space for unpredictability.

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.

The multi-channel sound installation Vitreous Sky by intermedia artist Marko Batista continues his exploration of contemporary post-fact society in relation to technological progress and the interconnectedness of society, nature and technology within the framework of ecocritical discourse, environmental policies and current humanist concepts such as nature, the Anthropocene and the capitalist colonial matrix.

The work builds upon Batista’s earlier projects, particularly Fluid Particles of Volcanic Ash, in which the indirect presence of humanity is revealed through devastated landscapes and traces of (post)humanoid existence. At the core of the exhibition are two precisely crafted interactive hybrid visual-sound objects, prototypes of a dystopian habitat of the future, addressing the project on both symbolic and practical levels.

The installation consists of a visual and a sonic component. The visual part is formed by a two-part mimetic installation with a post-natural environment produced using 3D printing, establishing a dialogue between urban and rural habitats. The sonic structure is based on the electrolysis of toxic compounds, which generate sound through processes of self-oscillation and extraction within an expanded electronic system. By attributing agency to matter itself, the work remains open-ended and allows space for unpredictability.

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 multi-channel sound installation Vitreous Sky by intermedia artist Marko Batista continues his exploration of contemporary post-fact society in relation to technological progress and the interconnectedness of society, nature and technology within the framework of ecocritical discourse, environmental policies and current humanist concepts such as nature, the Anthropocene and the capitalist colonial matrix.

The work builds upon Batista’s earlier projects, particularly Fluid Particles of Volcanic Ash, in which the indirect presence of humanity is revealed through devastated landscapes and traces of (post)humanoid existence. At the core of the exhibition are two precisely crafted interactive hybrid visual-sound objects, prototypes of a dystopian habitat of the future, addressing the project on both symbolic and practical levels.

The installation consists of a visual and a sonic component. The visual part is formed by a two-part mimetic installation with a post-natural environment produced using 3D printing, establishing a dialogue between urban and rural habitats. The sonic structure is based on the electrolysis of toxic compounds, which generate sound through processes of self-oscillation and extraction within an expanded electronic system. By attributing agency to matter itself, the work remains open-ended and allows space for unpredictability.

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.

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.

Ambisonic sound event and multi-channel sound installation

The Tree Spirits| Touch sound work reflects on the life of a tree, speculating on its acoustic component, and explores the interaction of an individual part of a plant with the colony of organisms and the forest biotic community. The sound recordings give voice to the existence of a tree in its annual and life cycles which begin and end in silence. The silence anticipating the springtime resurgence of sap flow, and the silence of destruction caused by climate change, drought, and fires. Brane Zorman is one of the three winners of Palma Ars Acoustica EBU competition 2022. You can read more about the conceptualization of work in the pdf notebook (link here) or buy printed verison of the booklet (here).

The artist zeros in on the touch; touch as an expression of genuine concern and awareness of the coexistence with plants, and a destructive touch of environmental devastation. The sounds of touching a tree trunk, branches rubbing against each other, the crushing of loose bark, the foliage, the rustling of trees in the wind, water drenching the roots – an acoustic journey through the physical existence of a tree. All the way to branch breaking, tree falling and a fire, a warning of the upcoming drought which is always a hard blow to a forest habitat.

Live Sound Event

Brane Zorman performs a live adaptation of Spirit of Trees | Touch, a work that evolved over two years in different phases and intensities. The performance employs spatial ambisonic technology and Silent Disco equipment, consisting of multiple micro FM transmitters and short-range headphones operating on various frequencies. The sound immerses the listener from all directions, creating an intense sonic experience where tones blend, shift, and reshape within a 360° spherical space. The ambisonic system allows the artist to manipulate spatial layers of sound while simultaneously transmitting them through conventional stereo headphones. Listening becomes a multi-dimensional experience, dissolving the boundaries between the audience and the sonic environment.

Art Installation

The installation demonstrates, investigates, and records the changes in the electrical conductivity, which are the result of the intensive drying process of the individual tree cookies (sliced portions of a tree trunk), converting the parameters – through heat, electrical and oscillation sensors, and converters – in the visual and acoustic forms. The cookies dry up and crack. They are colonised by microbes, mould, and fungi, and in the process of decomposition change their forms. Symbolically, these newly formed tree structures confront us with the shortage of water and moisture. The composition with the recorded and processed tree sounds, produced both within the organism as well as when touched by a human or the environment, builds an emotional and dramatic narrative charged with the natural and amplified sounds comingling and entwining. A dynamic 8-channel installation pulls the listener in the very centre of a sound happening.

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.

parkParty is an outdoor workshop where participants discover how contemporary artists observe and interpret nature through listening and guided movement in space. The workshop encourages community building, spatial awareness, and focused perception of sound.

The format uses a silent disco system: participants follow sound guidance through headphones while the mentor leads tasks and reflection through live microphone communication. Selected examples of sound artworks support the practical exploration process.

The multi-channel sound installation Vitreous Sky by intermedia artist Marko Batista continues his exploration of contemporary post-fact society in relation to technological progress and the interconnectedness of society, nature and technology within the framework of ecocritical discourse, environmental policies and current humanist concepts such as nature, the Anthropocene and the capitalist colonial matrix.

The work builds upon Batista’s earlier projects, particularly Fluid Particles of Volcanic Ash, in which the indirect presence of humanity is revealed through devastated landscapes and traces of (post)humanoid existence. At the core of the exhibition are two precisely crafted interactive hybrid visual-sound objects, prototypes of a dystopian habitat of the future, addressing the project on both symbolic and practical levels.

The installation consists of a visual and a sonic component. The visual part is formed by a two-part mimetic installation with a post-natural environment produced using 3D printing, establishing a dialogue between urban and rural habitats. The sonic structure is based on the electrolysis of toxic compounds, which generate sound through processes of self-oscillation and extraction within an expanded electronic system. By attributing agency to matter itself, the work remains open-ended and allows space for unpredictability.

The work was conceived as a performative sound walk experienced while walking through a field or forest. By inviting listeners to walk while listening, the work creates a focused and undistracted listening situation, offering a sound experience that is not merely cognitive but acts physically on the body and reaches unconscious aspects of our relationship with the Other.

The documentary sound walk The Voice of the Jackal departs from a case study of the migration routes of the species Canis aureus, which has spread from the Balkans to central and eastern Europe in recent decades. The growing numbers of jackals have triggered conflicts related to human interests. By combining different discourses, field recordings and composed soundscapes, the authors reflect on the relationship between human culture and non-human species, a relationship that can also be transferred to any socially conditioned Other.

Special attention is given to sensory language, the physical experience written by sound, and the sonic qualities of words. By inventing a sound capable of representing those without a voice, the work unfolds a different organization of temporality, requiring another mode of presence, attention and listening.

The performative aim is to introduce the sound narrative of the non-human Other into a hierarchically organized human discourse without imposing anthropomorphism. The sound of the Other is granted the power of voice and positioned as equal to words within the soundscape. The work thus moves away from the primacy of language and meaning and dramaturgically leads towards a more sensual address of the listener.

The work was created during the time of the epidemic when all public life had come to a standstill. As a result, the thick layer of the all-encompassing and constant noise disappeared, the existence of which we only really became aware of once it was gone. The authors captured this period, marked by weeks of silence and the gradual return of noise, with their recording equipment, walked paths and by discovering local microspaces. The result of their research is the existent locative performance, which, through the absence of noise, tells a tale of a future space. By using geolocation tools, the performance reflects on an experiential experience of landscape and sound and, in these complicated times, brings forth thoughts about the potential of a degraded space from the perspective of a society incapable of dialogue. The latter is using its last atoms of strength to depict dominance over the planet, while plants on the other side are blossoming, intertwining and even consoling, soothing, silencing and covering the all-pervasive species. The rhythm of walking, listening-in to the transitional space, a path that leads away from the overburdened city, and of listening to the degraded, waiting spaces, which are being taken back by nature, form the stance of this period of time … before it ends.

The workshop is open to artists, musicians, performers, dancers, students and anyone wishing to explore the relationships between sound, listening and the everyday sphere, the potential of walking in urban space and an expanded notion of notation from a post-disciplinary perspective.

The programme comprises two practical sessions focused on walking, listening on the move and itinerant performances. Participants are invited to re-enact the collection, intervene in various contexts (environmental, institutional, social, etc.), actively engage their bodies in space, practise listening as a relation to others and the world, take part in collective actions and reflect on the aesthetics and politics of sound in urban space.

No musical or performative skills are required; however, a collaborative and explorative attitude is essential.

Sonic Ontology of Negligence is a continuous research evolving from listening to abandoned places and landscapes reshaped by extensive intervention of human presence and exploitation, and eventually “given over“ to Nature to reclaim the space.

 

In the process of conceptualizing Sonic Ontology of Negligence, Manja Ristić resided in places that were heavily exploited and forever changed by the human urge to build, comprising thousand years-old quarries as well as present-day mega-structures, abandoned as a result of corruption and consumerist socio-political turmoil. The nucleus of the compositional structure is devoted to abandoned construction building site of the Stožice mega-structure, while layers of mnemopoetic sonic imprints are derived from an old lime-stone quarries from the island of Korčula in South Dalmatia, such are Glogovac, Lenga, Defora and Vrnik, but also abandoned mineral mines and lime pits from Fruška gora in Vojvodina, North Serbia, and other sites such is the military compound placed in the middle of the Avala forest in the suburbs of Belgrade. The poetical accent is given to the dynamics and textures of waters and aquatic micro spaces, which are building the formative/reproductive environments in the process of re-establishing bio diversities.

This walking lecture reflects on the meaning, purpose and sense of walking as an artistic practice. It draws on Honoré de Balzac’s The Theory of Walking, which questions the taken-for-granted nature of human walking and calls for its critical examination.

The focus is on walking as a specific bodily technique, as understood in anthropology, and on selected examples of walking performances – performative events conceived as walks by performers or spectators, who thereby become co-performers and participants. Thought develops through movement, following the model of the ancient Greek Peripatetics, with an emphasis on embodied experience, space and time.

The sound walk focuses on observing sensory perceptions and their interconnection, dependence and correlation between the individual’s inner self and the outer environment. The search for rituals in the process of self-perception and perception of the environment, free from learned and socially acceptable behaviour, follows the intuitive perception of the inner and outer self of each being.

What if you heard less? What if you listened to your inner sounds? What if the city felt more distant? What if you closed your eyes? This two-part walking and listening experience allows participants to explore different ways of listening to the world around them and to establish connections and relationships with the external environment. The walk concludes with mapping and discussion.

The workshop is open to artists, musicians, performers, dancers, students and anyone wishing to explore the relationships between sound, listening and the everyday sphere, the potential of walking in urban space and an expanded notion of notation from a post-disciplinary perspective.

The programme comprises two practical sessions focused on walking, listening on the move and itinerant performances. Participants are invited to re-enact the collection, intervene in various contexts (environmental, institutional, social, etc.), actively engage their bodies in space, practise listening as a relation to others and the world, take part in collective actions and reflect on the aesthetics and politics of sound in urban space.

No musical or performative skills are required; however, a collaborative and explorative attitude is essential.