PART 7

You And I Are Water Earth Fire Air Of Life And Death - PART 7

Fire (2026)

DECEMBER 12, 2026

12 NOON TO 12 MIDNIGHT

CURATED BY Christof Migone and Milo Thesiger-Meacham

"Fire (Fired Red Ire)” is a 12-hour event that follows on the heels of 2020’s You, 2021’s And, 2022’s I, 2023’s Are, 2024’s Water, and 2025's Earth.

This is the seventh in a series of twelve annual events taking place on December 12 from 12 noon to 12 midnight. Each year the event moves through each word of the 12-word phrase, You And I Are Water Earth Fire Air Of Life And Death,  to activate the word of the year in myriad ways.

It all started in 2020 with ‘YOU’, then in 2021 ‘AND’ connected you to anything and everything, in 2022 that point of connection was focused on ‘I’—the porous one, the sole collective. With ‘ARE’ in 2023, plural action entered the fray. Then in 2024, ‘WATER’ kept things flowing. Last year, with ‘EARTH’, we attempted to get grounded. This year, sounds like we are on ‘FIRE’— we are not sure quite yet if that's a good or bad thing. More than likely, a bit of both—charred and scarred, cooked and fired up.

THE FIRE FILES

All of these earths sink, one after the other, into the rekindling flames to be reborn and die down again—the monotonous stream of an hourglass eternally emptying and turning itself over; a new that’s always old and an old that’s always new.
— Louis-Auguste Blanqui, Eternity by the Stars

And what is Earth? Some mud, some glue, a meteor, can it belong to itself? Where are we? In the middle, at the beginning, the end? Who is we, is it you plus me, or something expandable, explosive?
— Etel Adnan, The Sun on the Tongue

and I speak
and my word is peace
and I speak and my word is earth
and I speak
and
Joy
bursts in the new sun
and I speak:
through knowing grasses time glides
the branches pecking at a peace of green flames
and the earth breathed under the gauze of mists
and the earth stretched. There was a cracking
in its knotted shoulders. There was in its veins
a crackling of fire.
— Aimé Césaire, The Miraculous Weapons

The smell of singed paper haunts me.
Is this a burning, is it a song?
Sing, singed.
The smell of singed paper haunts me with a song.
Sing, singed, sung.
— Daniela Cascella, Singed

There is more than one way to burn a book. And the world is full of people running about with lit matches.
— Ray Bradbury, Fahrenheit 451

From my early childhood, before my bones, nerves, and veins were fully strengthened, I have always seen this vision in my soul. The light that I see is not spatial, but it is far, far brighter than a cloud that carries the sun. I call it 'the reflection of the living Light'. When it happens I see, hear, and know all at once. It's as if in an instant I learn all that I know.  And what I write is what I see and hear in the vision. And the words in this vision are not like words uttered by the mouth of man, but like a shimmering flame, or a cloud floating in a clear sky.
— Hildegard von Bingen, letter to Guibert of Gembloux (1175)

the binary light, as a phase
in the flight of a bullet.
The report, when it reaches me
—ununique
and sequelesque: a string
of quantum noise — goes in one
ear and out of the eyes.
— Andrew Zawacki, Unsun

my body is a stray bullet. i was made from crossfire. love was her last resort. his mouth, a revolver.
— Billy-Ray Belcourt, This Wound Is a World

Fire is the ultra-living element. It is intimate and it is universal. It lives in our heart. It lives in the sky. It rises from the depths of the substance and offers itself with the warmth of love. Or it can go back down into the substance and hide there, latent and pent-up, like hate and vengeance. Among all phenomena, it is the only one to which there can be attributed the opposing values of good and evil. It shines in Paradise. It burns in Hell. It is gentleness and torture. It is cookery and apocalypse.
— Gaston Bachelard, The Psychoanalysis of Fire

I know, like everyone, how to light this fire so that its love will warm us, but how to control its power when the eruptive blaze makes the air unbreathable and bombs the fields, evaporates the water and desolates our earth with nuclear hate?
- Michel Serres, Biogea

Just then there was a loud noise downstairs. Inside Geryon something burst into flames.
- Anne Carson, Autobiography of Red

It’s something small, precise—I’m guessing—it must be red, it’s, I’m guessing, the fire speck—or the blood speck—it’s—I’m searching—the point which nails this drawing, this page, this verse, in our memory, the unforgettable stroke—the needle planted in the heart of eternity—I’m searching—a minuscule fatality, a point which hurts my heart and hurts the world’s heart.
- Hélène Cixous, Without End, No, State of Drawingness, No, Rather: The Executioner's Taking Off

build me a never-ending fire
play songs i've already heard
tell me stories about caribou & skateboards
fill my silence with pretty words
there's nothing in this
that isnt't love
- Leanne Betasamosake Simpson, This Accident of Being Lost

HOST AND MAIN PRESENTERS

PRESENTING PARTNERS

STREAMING PARTNERS

PROGRAMME

INTRO TO HOUR 1 FEATURES • Lineup announcement by Julian Amp • Text selection read by Daniela Cascella from her book Singed: Muted Voice-Transmissions, After The Fire (Equus Press, 2017) • Video by Christina Battle selected from her notes to self series •

FIRE (FIRED RED IRE) - HOUR 1
12 EST, 17 GMT, 18 CET

Otekhnòtshera Ratirihwisaks Etho:onhwentsyáke (OTEKH) PRESENTS Christina Battle, Tanya Doody & Jackson 2bears, Cassie Packham, Emelie Robertson

(more details soon)

Otekhnòtshera Ratirihwisaks Etho:onhwentsyáke (OTEKH) is an Indigenous research-creation and teaching environment based in the Dish with One Spoon Region (Southern Ontario). OTEKH brings together Indigenous arts, cultural knowledge, and advanced technologies through land-based and relational methodologies. Guided by the Dish with One Spoon principle of shared responsibility and sustainability, OTEKH fosters collaboration among artists, researchers, and communities. The lab supports projects in digital media, 3D modeling, sound, VR/XR, environmental sensing, and land-based AI, positioning Indigenous knowledge systems at the forefront of technological innovation. OTEKH empowers creative exchange and decolonial approaches to art, research, and technology.

INTRO TO HOUR 2 FEATURES •• Lineup announcement by Julian Amp •• Text selection read by Daniela Cascella from her book Singed: Muted Voice-Transmissions, After The Fire (Equus Press, 2017) •• Video by Christina Battle selected from her notes to self series ••

FIRE (FIRED RED IRE) - HOUR 2
13 EST, 18 GMT, 19 CET

CRiSAP PRESENTS Cathy Lane, Daniel Beck, Kate Carr, Mark Peter Wright, Nicol Parkinson, Thomas Gardner

CRiSAP (Creative Research in Sound Arts Practice) at the University of the Arts London presents six distinct contributions woven into a single, 58-minute listening experience. Bringing together works by CRiSAP members, current PhD researchers and alumni, the programme explores the elemental force of FIRE through a diverse range of sonic approaches. Moving between material intervention, experimental composition and documentary forms, these works ignite different perspectives on FIRE as substance, process, event and metaphor. Together, the six contributions create a shifting sonic landscape that invites listeners to explore the material, imaginative, cultural and political resonances of FIRE.

Fissure (2025) by Cathy Lane

The earth’s crust is thin and fragile in Iceland. As well as documented volcanic eruptions, the ground is often subject to unexpected spurts of boiling water from geysirs; mysterious steam escaping from holes and pools of bubbling mud. ‘Fissure’ explores the sonic materiality of this fiery landscape though the many varieties of noise it produces as hot liquids and gasses escape from holes, crevices and fissures. All field recordings were made in Iceland in 2004 additional sounds provided by Buchla courtesy of EMS Stockholm, VCS3 and my voice.

Listening Posts by Daniel Beck

While finding my way to the crest of the valley, I pass fields of failed sunflower crops and dry rolled bails of hay. At the top of the hill, the plateau opens out to meadows surrounded by forest. Throughout France, wildfires are burning on the borders of Bordeaux, Carcassonne, Marseille, and nearby in Ariège; a record-breaking year for high temperatures and dry weather also threatens the forests surrounding my home. Since arriving from London in 2023 I have observed the hunters’ lookouts and hides scattered along the tree-lines, roads, and fields. While some are still in use, others, long abandoned, stare only at the thick foliage of the sweet chestnut trees that grow here. As I begin to gather sounds, rather than the gunshots of hunters, my thoughts are drawn to the real threat that faces the woods and how these lookouts might become listening posts. Can they help locate the influence of extreme heat on the sounds of the plateau; hooves crunching on dry branches, the sudden assault of electrical storms, or a rumble in the distance? Is that smoke on the horizon or just a hot breath of dusty summer air?

Clapham Common on a very hot and dusty day by Kate Carr

On hot and windy days over the last two weeks (August 2026) I have been making small performances in parks near my home. Leaning into wind noise and using a phone looper equally prone to wind distortion, these have been messy, fun and unpredictable experiments bringing together the elemental, the accidental and the fortuitous. The moments documented are exercises in both sounding and recording: impromptu field recording performances involving a handful of small instruments, some collected, others I made, a phone app, bird horns, a Bluetooth speaker, and a lot of chance encounters. It has been a very dry and very hot summer already in London, and this is one way I've spent my time. This recording forms part of a collection called: Unruly recordings of shy, halting performances in parks.

Solar Scales by Mark Peter Wright

June-August, Clissold Park, London, 2026. As wildfires and drought swept the planet two celestial events occurred. The first (June 21st) marked the summer solstice, announced in the recording by the tolling of bells. This is a moment when the earth’s axis leans closest to the sun, denoting the longest day and shortest night of the year. The second recording (August 12th) is made during a near total solar eclipse when the moon passes the sun and blocks its light. This audio documents the communal gathering, curiosity and celebration of a once in a lifetime phenomenon. Both recordings evidence our complex relationship to the sun across personal and planetary scales.

Wet Fire on Dry Fire by Nicol Parkinson

A layered performance(s) work for microphones. Actions and activities in public and private, in various combinations.

A Lighter Touch by Thomas Gardner

This piece celebrates the allure of the shimmering harmonics which hover on the horizon of all seemingly solid and self-evident notes. Like all forms of fire, there is the fear that it may become all consuming and that, like moths to a flame, we follow it at our peril. But rather than take a moral stance, we can take the risk of being guided by sensory pleasure. Thus, each day, with regular practice, these ephemeral presences teach us a lighter touch. Learning how to ignite and listen, de-prioritise the known and mundane and be guided by this higher disturbance, a fire that animates but does not consume. Following a field trip to Belarus, where I went to a small village and heard modal singing from the Orthodox/Byzantine tradition and inspired by Bartók's field recordings and alterative approach to modernism, this is the ground on which these overtones alight.

CRiSAP is a world-leading interdisciplinary research centre in the field of sound arts practice, based at London College of Communication (LCC). With funding from UK Research and Innovation (UKRI) and various international bodies, CRiSAP has played a key role in establishing sound arts as a vital scholarly field within the arts and humanities. Our dynamic and inclusive community brings together students at all levels with research-active academics, practitioners and visiting fellows from across the world. We collaborate with renowned institutions and publishers such as TATE, Resonance FM and Bloomsbury on major conferences, exhibitions and publications.

INTRO TO HOUR 3 FEATURES ••• Lineup announcement by Julian Amp ••• Text selection read by Daniela Cascella from her book Beauty, Burning: The Condition Of Music (Erratum Press, 2026) ••• Video by Christina Battle selected from her notes to self series •••

FIRE (FIRED RED IRE) - HOUR 3
14 EST, 19 GMT, 20 CET

Resonance PRESENTS

(more tba)

INTRO TO HOUR 4 FEATURES •••• Lineup announcement by Julian Amp •••• Text selection read by Daniela Cascella from her book Beauty, Burning: The Condition Of Music (Erratum Press, 2026) •••• Video by Christina Battle selected from her notes to self series ••••

FIRE (FIRED RED IRE) - HOUR 4
15 EST, 20 GMT, 21 CET

Resonance PRESENTS

(more tba)

INTRO TO HOUR 5 FEATURES ••••• Lineup announcement by Julian Amp ••••• Text selection read by Daniela Cascella from her unpublished work in progress, working title Viscerae Serpentine ••••• Video by Christina Battle selected from her notes to self series ••••••

FIRE (FIRED RED IRE) - HOUR 5
16 EST, 21 GMT, 22 CET

(TBA)

INTRO TO HOUR 6 FEATURES •••••• Lineup announcement by Julian Amp •••••• Text selection read by Daniela Cascella from her book Chimeras: A Deranged Essay, An Imaginary Conversation, A Transcelation (Sublunary Editions, 2022) •••••• Video by Christina Battle selected from her notes to self series •••••••

FIRE (FIRED RED IRE) - HOUR 6
17 EST, 22 GMT, 23 CET

Interaccess PRESENTS Tasman Richardson

*LIVE*

(more tba)

THE TONGUE-TIED SERIES for MOOD (DOOM)

Curated by Christof Migone

During the last 6 hours of the event (Hours 7 to 12),  five artists (Alison Clark, Christof Migone, Dan Tapper, Debashis Sinha, and Alex Raja Ven)  will present audiovisual material based broadly on the idea of fire. Some will present live mixes, others will present entirely pre-recorded content (details below). All were essentially given carte blanche, but as a common base they will each be working with the Tongue-Tied recordings gathered over the summer of 2026.

For the Tongue-Tied series, twelve pairs of people living under the same roof were asked to record themselves repeating the word ‘fire’ for 12 minutes. Each person did this twice, once in their mother tongue, and another in their partner’s mother tongue. In the case of the last pair listed, they did this four times, in each language of the couple's four parents.

Teine and 火 by Helen Abbot (Scottish) & Jury Tosh (Japanese)
نار and আগুন by Hiba Abdallah (Arabic) & Ali Syed (Bangla)
Foc and Fire by Oana Avasilichioaei (Romanian) & Lou Pam Dick (English)

Feuer and আগুন and by Jutta Brendemühl (German) & Debashis Sinha (Bengali) 
φωτιά and կրակ by Chandra Bulucon (Greek) & Ara Mizrakjian (Armenian) 

Fire and φωτιά by Erika DeFreitas (English) & Tony Glaros (Greek)

vuur and tân by Emily DiCarlo (Dutch) & Charlie Harrell (Welsh)
Apoy and Fire by Christopher Dela Cruz (Tagalog) & Rashana Youtzy (English)
تش and آتش
 by Behnaz Fatemi (Bakhtiyari) & Amir Sadeghi (Farsi)
Fire and 불 by Baruch Gottlieb (English) and Yang Ji Yoon (Korean)
вогонь and Feu by Marla Hlady (Ukranian) & Christof Migone (French)
Fire and Fuego by Marla Hlady (English) & Christof Migone (Spanish)

INTRO TO HOUR 7 FEATURES ••••••• Lineup announcement by Julian Amp ••••••• Text selection read by Daniela Cascella of H.D., ‘Trilogy: The Walls Do Not Fall’, Collected Poems 1912-1944 (New Directions, 1986 [1944])••••••• Video by Christina Battle selected from her notes to self series ••••••• 

FIRE (FIRED RED IRE) - HOUR 7
18 EST, 23 GMT, 0 CET

Squint Press PRESENTS Christof Migone

TONGUE-TIED SERIES (1-2)

Tongue-Times - Part 1 by Christof Migone

How many tongues does it take? How many times? Can a tongue count? What if it’s on fire? Twelve minutes is a long time when you’re stuck on a single word. Stuck on you. Hot.

The Tongue-Times videos used the voice recordings from the Tongue-Tied series as triggers for synced visual and sonic abstractions and mixed them with home recordings of a fireplace, several strobes, and monthly rituals with matches.

FEATURING (in order of appearance):
φωτιά and կրակ by Chandra Bulucon (Greek) & Ara Mizrakjian (Armenian)
نار and আগুন by Hiba Abdallah (Arabic) & Ali Syed (Bangla)

INTRO TO HOUR 8 FEATURES •••••••• Lineup announcement by Julian Amp •••••••• Text selection read by Daniela Cascella of James Hillman's ‘Rudiments: Fire’, Alchemical Psychology (Spring Publications, 2014) •••••••• Video by Christina Battle selected from her notes to self series •••••••• 

FIRE (FIRED RED IRE) - HOUR 8
19 EST, 0 GMT, 1 CET

Arraymusic PRESENTS Alison Clark

*LIVE*

TONGUE-TIED SERIES (3-4)

Tongue-Tied 3-4 by Alison Clark

As part of the Tongue-Tied series, Alison has created a new audio visual performance using digital and analogue instruments of her own creation. Inspired by Baruch Gottlieb / Yang Ji Yoon’s and Oana Avasilichioaei / Lou Pam Dick's contributed recordings speaking the word fire, she stages a duet with her computer. The computer sees its partner and listens to its surroundings, generating a new output which captures and recontextualizes the inputs it receives. The human voice and form become the raw materials this computer can use to express itself in a wholly unique form of communication.

FEATURING (in order of appearance):

Foc and Fire by Oana Avasilichioaei (Romanian) & Lou Pam Dick (English)

Fire and 불 by Baruch Gottlieb (English) and Yang Ji Yoon (Korean)

(more details soon)

INTRO TO HOUR 9 FEATURES ••••••••• Lineup announcement by Julian Amp ••••••••• Text selection read by Daniela Cascella of Maria Gabriela Llansol, ‘In The House Of July And August’, The Geography Of Rebels Trilogy (trans. Audrey Young, Deep Vellum Publishing, 2018 [1984]) ••••••••• Video by Christina Battle selected from her notes to self series ••••••••• 

FIRE (FIRED RED IRE) - HOUR 9
20 EST, 1 GMT, 2 CET

NAISA and Squint Press PRESENT Alex Raja Ven

*LIVE*

TONGUE-TIED SERIES (5-6)

After Fire by Alex Raja Ven

After Fire is a live audiovisual composition charting the fire history preserved within Bog Bažu, a peatland in northwestern Latvia. Drawing from field recordings, charcoal data, and utterances of the word “fire” in English, Greek, Bakhtiari, and Farsi, the work frames peat as an ecological archive, where vestiges of the past haunt the present. Peat fires quietly disturb this archive. Burning beneath the surface, they persist unseen, releasing carbon stored for thousands of years. After Fire considers the fragile tension between accumulation and release, preservation and loss. Reading the peatland as an archive that exceeds human timescales, the work traces past fires through their material remains.

FEATURING (in order of appearance):

Fire and φωτιά by Erika DeFreitas (English) & Tony Glaros (Greek)

تش and آتش
 by Behnaz Fatemi (Bakhtiyari) & Amir Sadeghi (Farsi)

(more details soon)

INTRO TO HOUR 10 FEATURES •••••••••• Lineup announcement by Julian Amp •••••••••• Text selection read by Daniela Cascella of Curzio Malaparte, ‘The Rain of Fire’, The Skin (trans. David Moore, New York Review Books, 2013 [1949]) •••••••••• Video by Christina Battle selected from her notes to self series •••••••••• 

FIRE (FIRED RED IRE) - HOUR 10
21 EST, 2 GMT, 3 CET

Arraymusic PRESENTS Christof Migone

*LIVE*

TONGUE-TIED SERIES (7-8)

Tongue-Times - Part 2 by Christof Migone

How many tongues does it take? How many times? Can a tongue count? What if it’s on fire? Twelve minutes is a long time when you’re stuck on a single word. Stuck on you. Hot.

The Tongue-Times videos used the voice recordings from the Tongue-Tied series as triggers for synced visual and sonic abstractions and mixed them with home recordings of a fireplace, several strobes, and monthly rituals with matches.

FEATURING (in order of appearance):

Feu and Fire by Christof Migone (French) & Marla Hlady (English)
вогонь and Fuego by  Marla Hlady (Ukranian)& Christof Migone (Spanish)

INTRO TO HOUR 11 FEATURES ••••••••••• Lineup announcement by Julian Amp ••••••••••• Text selection read by Daniela Cascella of Marguerite Porete, The Mirror of Simple Souls (trans. Ellen L. Babinsky, Paulist Press, 1991 [1296-1306]) ••••••••••• Video by Christina Battle selected from her notes to self series ••••••••••• 

FIRE (FIRED RED IRE) - HOUR 11
22 EST, 3 GMT, 4 CET

Arraymusic PRESENTS Dan Tapper

TONGUE-TIED SERIES (9-10)

Primordial Choir by Dan Tapper

Primordial Choir responds to source material from Helen Abbot, Jury Tosh, Emily DiCarlo and Charlie Hatwell, weaving their repeated speech into cyclical mantras, morphing into guttural earth tones sung around campfires before music and tonality were invented. The looping text leads into a world lit by firelight, where lightning and the northern lights crackle audibly through the firmament.

FEATURING (in order of appearance):

Teine and 火 by Helen Abbot (Scottish) & Jury Tosh (Japanese)
vuur and tân by Emily DiCarlo (Dutch) & Charlie Harrell (Welsh)

INTRO TO HOUR 12 FEATURES •••••••••••• Lineup announcement by Julian Amp •••••••••••• Text selection read by Daniela Cascella of Rumi, Gold (trans. Haleh Liza Gafori, New York Review Books, 2022 [13th c. CE]) •••••••••••• Video by Christina Battle selected from her notes to self series •••••••••••• 

FIRE (FIRED RED IRE) - HOUR 12
23 EST, 4 GMT, 5 CET

TMU PRESENTS Deb Sinha

TONGUE-TIED SERIES (11-12)

FEATURING (in order of appearance):

Feuer and আগুন and by Jutta Brendemühl (German) & Debashis Sinha (Bengali) 
Apoy and Fire by Christopher Dela Cruz (Tagalog) & Rashana Youtzy (English)

(more details soon)

PARTICIPANTS

Christina Battle is an artist based in amiskwacîwâskahikan (Edmonton), within the Aspen Parkland: the transition zone where prairie and forest meet. Her practice focuses on thinking deeply about the concept of disaster: its complexity, and the intricacies that are entwined within it. She looks to disaster as a series of intersecting processes including social, environmental, cultural, political, and economic … which are implicated not only in how disaster is caused but also in how it manifests, is responded to, and overcome. Through this research, Battle looks closer to both online models and plant systems for strategies to learn from, and for ways we might help to frame and strengthen such response. Much of this work extends from her 2020 PhD dissertation which looked closer to community responses to disaster: the ways in which they take shape, and especially to how artistic and online models might help to frame and strengthen such response. Battle’s practice prioritizes collaboration, experimentation, and failure; she has a B.Sc. with specialization in Environmental Biology from the University of Alberta, a certificate in Film Studies from Toronto Metropolitan University, an MFA from the San Francisco Art Institute, and a PhD in Art & Visual Culture from the University of Western Ontario.  

Daniel Beck is an artist and researcher based in London and France; he is a CRiSAP PhD alumni whose research investigates the aural connections of sound, temperature, radioactivity and atmosphere. His thesis introduced the concept of ‘noise-prints’, where documentation and recorded media are activated as post-atomic wayfinding instruments, and among others has exhibited works at The British Museum, BFI Southbank and Fringe Arts Bath. In 2024 he co-founded Arts Gaussan, a multi-disciplinary art residency programme in the Hautes-Pyrénées, France, which is due to launch in 2028.

Kate Carr's composition practice explores the encounters, textures and technologies entangled with field recording. She creates intimate, delicate and hybrid soundworlds that centre the interactions and forms of collectivity through which soundscapes are generated. Her work draws on everything from vibrations caused by cars and footfalls to overheard murmurs, public speeches, music in public space and distant sporting events. Inspired by the layers, minglings and silences of collective soundscapes, Carr composes works that probe sound as a way of understanding how we negotiate living together. She is particularly interested in the ambiguities of field recording, and its performative modes and fictions.

Alison Clark is a Toronto-based new media artist and musician who explores human-machine relationships through interactive installations and custom-built electronic instruments. She is particularly interested in the voice of machines and the chaotic outcomes that arise when that voice is given freedom to speak for itself. Performing as cellsync she draws inspiration from realities isolated within sensor data, creating tracks which reshape the sounds around her into new alien forms.

Tanya Doody is an artist and researcher and is Assistant Professor in Studio Art at Western University, situated on the banks of the Deshkan Ziibi and within the traditional lands of Anishinaabek, Haudenosaunee, Lūnaapéewak, and Chonnonton Nations. Her research explores objects, materials, and the senses together as a site of inquiry, with modes spanning performance art, object making, and land-based site-responsive practices rooted in sustainability. She is part of the Abundant Intelligences network of researchers dedicated to interdisciplinary intercultural research methodologies, engaging with AI through an Indigenous lens, and is studio lead, materials research with OTEKH.

Thomas Gardner is a sound artist and cellist whose work makes links between music, field recording and speech. These have been explored in the context of post war art-music and the political understanding of sound art, and lead to the making of work which attempts to mediate the legacy of trauma and search for new forms of representation. The research context for this can be described as ‘Audio Testimony’: the exploration of sound as a creative medium through which to engage with complex, traumatic and contested memory.

Cathy Lane is an artist, composer and writer. She works primarily in sound, combining oral history, archival recordings, spoken word and environmental recordings to investigate histories, environments, our collective and individual memories and the forces that shape them. She is inspired by places or themes which are rooted in everyday experience and particularly interested in ‘hidden histories’ and historical amnesia and how this can be investigated from a feminist perspective through the medium of composed sound. Cathy Lane is Emerita Professor of Sound Arts at University of the Arts London.

Christof Migone has a tendency to devise long durational collective projects such as this 12-year long one. Blurring the distinctions between artist and curator, writer and administrator, were initially done out of necessity, then quickly became a preference. Wearing many hats keeps him warm.

Tékeniyáhsen Ohkwá:ri (Jackson 2bears) is a Kanien’kehà:ka (Mohawk) artist, cultural theorist, and Tier 1 Canada Research Chair in Indigenous Arts Research and Technology at Western University. His research-creation practice explores Haudenosaunee cosmologies, land-based knowledge, and the creative use of digital technologies and AI to express and sustain Indigenous cultural practices. 2bears is Associate Professor of Art Studio and Indigenous Studies and Director of OTEKH, a network of labs at Western dedicated to Indigenous-led research-creation. He is also Co-Director of 2RO MEDIA and the Abundant Intelligences project, a global initiative reimagining AI through Indigenous epistemologies and community-centered design.

Cassie Packham is an Onyota'a:ka (Oneida) artist born and raised in Mi'kma'ki (Nova Scotia). Her work considers rearrangement, oscillation, transmission and reciprocity in manifestations of writing, video, sculpture, sound, installation, printed matter, drawing and performance. Enduring interests include the use of personal narrative to interrupt dominant modes of understanding, representations of media and its effects/affects, natural movement, and the body as resistance. In 2011 Cassie graduated from NSCAD with a BFA in Intermedia. In 2022, they were awarded a Canada Council for the Arts grant and a Nova Scotia Arts Grant for Individuals for their on-going art explorations of the metaverse. Cassie is presently based in London, Ontario and is pursuing their Master of Fine Arts at Western University.

Nicol Parkinson is an artist who works with sound in performance and performance in sound, currently researching and writing on the entangled history of sound art and live art, their contemporary distancing, and how we might retrospectively talk about the doing of live work. Over the last decade, they have collaborated extensively with artists including Jo Hauge, Liz Rosenfeld & An*dre Neely, Eirini Kartsaki, Anne Bean, Tamm Reynolds, Season Butler, Nando Messias, and Oozing Gloop. They are a PhD researcher at CRiSAP, UAL.

Alex Raja Ven is a Lebanese-Canadian sound, media, and installation artist whose work examines entangled relationships between identity, technology, nature, and more-than-human futures. In 2025, she produced Étude for Moss, a site-responsive sound performance during a residency at Baltic Analog Lab in Riga, Latvia, and Threshold Ecologies, a mixed-media installation developed at SÍM in Reykjavík, Iceland. She has presented her work in galleries, festivals, and concerts internationally, including Mutek, Lobe Studio, SÍM Hlöðuloftið, Music Gallery, Art Windsor-Essex, UKAI Projects, InterAccess, and Forest City Gallery. She is currently an MFA candidate at Emily Carr University of Art + Design.

Tasman Richardson is a cultural composite, making cultural composites. His practice spans video art, immersive installation, and live a/v performance. He established himself by pioneering his cut-up method "JAWA" in 1996, and co-founding the FAMEFAME arts collective and Videodrome international a/v tournament. Richardson critically examines "contemporary necromancy", "voluntary surveillance", and video as "a soul without a body". His large-scale installations include Necropolis (MOCCA 2012, Karsh-Masson 2015) and Kali Yuga (Arsenal Contemporary 2019, 2020). More recent works investigate social silos and class war. His collected observations spanning two decades are published by Impulse(b) in his book "Objects In Mirror", launched in Toronto, Berlin, and Izmir (2023). His work is held by the National Gallery of Canada. 

Dan Tapper is an artist, educator, technical director and creative technologist interested in the intersection between information and experience. His work focuses on the unseen and unheard, using radio and imaging technologies to capture the sounds of the earth’s ionosphere, map supernovas, and capture microscopic worlds. By utilizing elements of conceptual art and science in his work, Tapper draws attention to the unperceived wonders that surround us and the poetry that can be found in data.

Milo Thesiger-Meacham is an artist, composer, writer, performer and broadcaster. He has worked on solo and group projects for Tate Modern, The V&A Museum, the European Capital of Culture, the Centre for Contemporary Arts Glasgow, London and Paris Fashion Weeks, Radiophrenia, Cafe Oto, Iklectik, the European Poetry Festival, Waste Paper Opera, Tenement Press, Lewisham Arthouse, Radio Revolten, the IvyNODE/Tierra Vivente residency, Echoraeume and more. He is also artistic director of the arts radio stations Resonance FM and Resonance Extra.

Mark Peter Wright is an artist, researcher and self-described “suspicious listener." He works between sound arts, experimental pedagogy and critical theory, combining performance, installation and publishing to explore the poetics and politics of sound and listening. Operating within the traditions and methods of documentary fieldwork and site-based research his practice investigates the relationship between sound recording, ethics and aesthetics. His book Listening After Nature is published by Bloomsbury, 2022/23. Wright is the Director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.