**Jules Négrier** worked at the french national radio on spatial audio projects before joining the GRM in 2018 as a programming assistant.

He holds an MA in acousmatic music and sound art from the University of Marne La Vallée, France. Négrier composes electroacoustic music and performs live diffusions of these works internationally.

[Website](https://www.acousmonium.info/jules-negrier)

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Jules Négrier 

PROGRAMME

Inner Ear(th)

Acousmonium I

**Farida Amadou** is a self taught bass player based in Liège, Belgium. 

Amadou is a member of the duo **Nystagmus** with drummer Tom Malmendier, and the punk/noise band **Cocaine Piss**. Since 2018, Amadou has performed under duo projects with the drummer Steve Noble, featuring trio collaborations with musicians including Alex Ward, Chris Pitsiokos, Thurston Moore, Julien Desprez and Peter Brötzmann. 

In 2020 Farida Amadou was  part of the OORSTOF series project with Ken Vandermark and his band MARKER, and the following year began two collaborative projects with Floris Vanhoof and Pavel Tchikov. In 2021 Amadou collaborated with the guitarist Pavel Tchikov, releasing her most recent album _Mal De Terre_.

[Website](https://faridamadou.com/)

[Bandcamp](https://farida-amadou.bandcamp.com/music)

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Farida Amadou

**Jaap Vink** is a Dutch engineer and electronic musician best known for his spatial recordings and electro-acoustic compositions. 

He attended courses in electroacoustics at Delft University of Technology and installed a pedagogical studio for electronic music in 1961 at the Gaudeamus Foundation in Bilthoven with the help of the Nederlandse Radio Unie (NRU). Together with Gottfried Michael Koenig, Jaap Vink worked at the CEM studio for electronic music in Bilthoven during the 1960s, combining the electronic equipment, assembling special electronics, performing maintenance and assisting composers. Vink was a staff member at the Institute of Sonology as a teacher in analogue studio techniques from 1967 until his retirement in 1993. In this role Vink assisted visiting and resident composers in sound composition and production techniques; meanwhile composing and developing his own electronic analog pieces including 2-track stereo and 4-track spatial recordings. 

Although his music was entirely produced with purely electronic sound material, its textures resemble the richness of orchestral sounds, or large natural sound-complexes, as a result of recursive processes. The density of this sound material increases and decreases by careful control of feedback networks, with configurations of analogue tape recorder delay lines, filters, and modulators.

[Bandcamp](https://recollectiongrm.bandcamp.com/)

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Jaap Vink

**Matthias Puech** is an electronic musician, programmer, researcher and teacher.

Through his work as a development scientist for INA GRM and assistant Professor in Computer Science, Puech nourishes a dual interest for natural phenomena, especially evolutionary biology, and the mathematical and computational concepts that let us understand our world. Interpreting ‘ambient’ and ‘noise’ in their original sense, Puech’s compositions seek to disturb the distinction between sound synthesis and field recording, highlighting the symbiotic relationship between the machine and its environment. Matthias Puech designs his own instruments using unique synthesis algorithms inspired by physics and biology, and collaborates with manufacturers of modular synthesisers who then market his creations. Puech has released four full-length physical albums, his most recent album _A Geography of Absence_, was released in 2021. He has notably played live at  Cafe OTO in London, 100ECS, Péripate, Rinse France in Paris, CKUT Radio in Montréal, and has been commissioned by Radio France & GRM for live performances internationally. 

[Website](https://mqtthiqs.github.io/)

[Soundcloud](https://soundcloud.com/mqtthiqs)

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Matthias Puech

**Bernard Parmegiani** (1927 − 2013) was a French composer best known for his electronic acousmatic music. 

Parmegiani's most famous work includes _Capture éphémère_ in 1967 and an interpretation of Dante Alighieri’s Divine Comedy, _L'Enfer_ in 1972, a collaboration with the composer François Bayle. Following four years of acting study at the prestigious Lecoq & Decroux school, Parmegiani joined GRM in 1959 as a postgraduate. His first major work, Violostries was composed in 1962 and directed by Jacques-Albert Cartier.

During this nascent period Parmegiani composed for numerous film directors and began to branch out into the  field of video-art after a journey across the United States. He directed three musical videos when he returned: _L’Œil écoute_ (1973), _Jeux d’artifices_ (1979) for the research department of ORTF, and L’Écran transparent (1973) in Köln during his residency at West Deutscher Rundfunk. His interests also expanded to live performance: in the seventies he interacted with jazz artists for improv sessions with french jazz fellows and went to London to perform live with The Third Ear Band.  Parmegiani’s music has won countless awards, among them prizes from the Académie du Disque Français in 1979, SACEM in 1981, Les Victoires de la Musique in 1990, and the Prix Magister at the Concours International de Bourges in 1991. In 1993 he was awarded the Golden Nica Award at Prix Ars Electronica for the composition _Entre-temps_.


[Website](https://bernard-parmegiani.fr/en/itineraire/biographie/)

[Bandcamp](https://recollectiongrm.bandcamp.com/)

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Bernard Parmegiani 

Acousmonium II

**Iannis Klearchou Xenakis** (1922 − 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer. 

A key figure in the development of electronic and computer music, Xenakis pioneered the use of mathematical models in composition, including applications of set theory, stochastic processes and game theory. Trained as an architect, Xenakis integrated music with architecture practices, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances.

Xenakis’s long and fruitful association with the Paris Instrumental Ensemble for Contemporary Music led to frequent performances and recordings of his works for chamber ensemble. He established the School of Mathematical and Automatic Music in 1966. Xenakis also designed what he called ‘polytopes’, high-art son-et-lumière installations that involved his lighting designs, his sets, his music, and his sound projection to create vivid multi-media experiences, in places from Canada to Iran to Greece. His 1958 work _Achorripsis for 21 instruments_, led Xenakis to formulate his minimal rules of composition — rules that were subsequently expanded in the program for _ST/10-1,080262_ made between 1956–62. In 1971 he published the influential text _Formalized Music: Thought and Mathematics in Composition_.

[Website](https://www.iannis-xenakis.org/en/) 

[Bandcamp](https://recollectiongrm.bandcamp.com/)

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Iannis Xenakis

Returning for a celebratory 30th anniversary edition, Sonic Acts Biennial 2024 takes place from 2 February to 24 March, with an immersive festival weekend from 23 to 25 February.

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Biennial 2024

Imprint

Privacy Policy

Cookies

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Sonic Acts is supported by

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Sonic Acts

Sonic Acts Biennial 2022 attended to questions of non-linear time, entangled ecologies, and pollution through an expansive exhibition, a provocative sound art programme, and an interdisciplinary symposium. This slow immersion into the environmental humanities is reflected in the design of the Biennial T-shirts and tote bags, available now in the Sonic Acts webshop. 



[→ Buy your merchandise here](https://shop.sonicacts.com/product-category/merchandise/)

Additionally, the third issue of _Ecoes_ magazine corresponds to the explorations of toxicity taken up by the Sonic Acts Biennial 2022. _Ecoes_ #3 includes essays, stories, and interviews by biennial contributors including **Andrea Galano Toro**, **pantea**, **John Grzinich**, **Aura Satz**, **Antonia Alamp**i, and many more. _Ecoes_ #3 can be purchased individually, or as part of a subscription, through the [Sonic Acts webshop](https://shop.sonicacts.com/). 


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Sonic Acts Biennial merch now available to buy online

Maryam Monalisa Gharavi

Sam Lavigne

What does it mean to place narrative limitations on oil, where infinity is assumed? Commissioned by Sonic Acts, _OBIT_ by **Maryam Monalisa Gharavi** and **Sam Lavigne** can now be streamed online, after having been first exhibited in the form of an installation as part of the exhibition _one sun after another_ during Sonic Acts Biennial 2022. 

Drawing from semi-public databases containing the dates drilling began and the dates wells were abandoned, the work unscrolls the ‘birth’ and ‘death’ of all abandoned oil wells in the U.S., generating a ‘public obituary’ of oil. The ‘finality’ of _OBIT_ coincides with the flood of information each unit measures, or 314,452 total dead wells. Seemingly infinite, the work encloses and gives finitude via a closed scroll and text, placing appropriate narrative limitations on oil where infinity is assumed.


[→ Explore OBIT online](https://obit.sonicacts.com/) 


The multinational, multiconglomerate oil industry divulges myriad streams of data about its operations, which when looked at in both the macro (314,452 oil well deaths) and micro (distinct obituaries for each one) yield surprising and discordant findings. _OBIT_ synthesizes ‘oily’ data that reveals its own significance the very moment it is divulged. Through scraping, a technique developed by Sam Lavigne, it seeks data from within its own knowledge domains and industry collection sites. 


A former OVEREXPOSED resident, **Maryam Monalisa Gharavi** has been collaborating and working with Sonic Acts for several years. As an artist, poet, and theorist whose work deals with the paradoxes of our interactions with matter and immateriality, she explores the interplay between aesthetic and political valances. With _OBIT_, Gharavi works alongside artist and educator **Sam Lavigne** to dive deeper into the ‘twin’ extractive commodities of oil and data. Lavigne’s work plugs into the interlocking interfaces of data, surveillance and policing, as well as natural language processing and automation. Harnessing digital tools to perform online interventions, Lavigne brings to light the often opaque political and economic conditions moulding computational technologies.


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Artwork OBIT can now be streamed online

MELT

Following their installation as part of Sonic Acts Biennial 2022 exhibition _one sun after another_, **MELT** (**Ren Loren Britton** and **Iz Paehr**) invite listeners and readers to join their online guided meditation _presence-past presence-present presence-future_. As part of _never odd or even_, the ongoing project for their Sonic Acts OVEREXPOSED residency, MELT feel into futures in which Trans* and disabled presences might be fully embraced, dreaming towards being in time differently. 


Commissioned by Sonic Acts, _never odd or even_ explores multiple overlapping perspectives on numerous temporalities. As the project unfolds in various stages and formats, this latest development presents an online meditation for a plurality of joyful Trans* and disabled futures. _presence-past presence-present presence-future_ looks to futurity in non-normative, non-linear time. Sen(s)(d)ing desires, wishes, and intentions, MELT tunes towards timelines that instead of writing Trans* and disabled folks out of time, make presence a present for them to thrive in and bend the clock. 


As you click along, time stretches into the past through collective and ancestral memories and into the future with meditations for Trans* and Disabled futures. When we travel time as disabled and Trans* people, when do we go? What if ableism and binary gender mattered less, and had less pull on our shared spacetime? When we sync with crip spacetime, we move what matters towards a plurality of joyful disabled and Trans* futures. 


Presented as well as part of the exhibition _one sun after another_ during Sonic Acts Biennial 2022 in the form of an installation and a guided meditation, _presence-past presence-present presence-future_ invited visitors into non-linearity, loops, circles, palindromes, discontinuities, slowness, and attention to pace within their time. 


[→ Follow MELT’s guided meditation online](https://overexposed.sonicacts.com/neveroddoreven/meditation)


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MELT add meditation to 'never odd or even'

Aura Satz

Arie Altena

Artist, Freelance Journalist & Photographer

Agnès Villette 

Anthea Caddy

Ameneh Solati

Angeliki Diakrousi

HC Gilje 

Áine O’Dwyer

Kali Malone

Lucy Railton

pantea

Lucky Dragons

Kyveli Mavrokordopoulou

Anika Schwarzlose

Brian D. McKenna 

Louis Braddock Clarke

Zuzanna Zgierska 

Félix Blume

Curator, Researcher, Educator & Soothsayer

Dani Admiss

Angeliki Balayannis

Sophie Dyer

Sasha Engelmann

Mary Maggic

Andrea Galano Toro

Julian Ross

Mina Kim

Nerea Calvillo

Cesar Majorana

Leanne Wijnsma

Sarah McNair-Landry

Seline Buttner

Julian Charrière

Danny Osborne

Patrick Thompson

Alexa Hatanaka

Eric McNair-Landry

Erik Boomer

Kent Chan

Enrico Malatesta

Bloedneus & de Snuitkever

DEBIT

Maria Komarova

séverine

Ausschuss

april222

Olivia Block

Hüma Utku

Soda Plains

Tarek Atoui

Nina Garcia 

Jessica Ekomane

Ale Hop

Tatiana Heuman 

Ben Bertrand

Stephen O'Malley

Tomoko Sauvage

Aho Ssan

Ailbhe Nic Oireachtaigh

Music Research Strategies

Dirar Kalash

u-matic & telematique

Sarah Davachi

Nemø ensemble

Mazen Kerbaj

Soundcamp

Loma Doom

Async Figure

Soft Break

Laura Cull Ó Maoilearca

Daphina Misiedjan

Ola Hassanain

Kate Donovan

Tati au Miel

Thomas Lamers

Dominic Kraemer 

Mikki Stelder

Saranghwae

FARWARMTH

Marcin Pietruszewski

Over the past few weeks, through thought-provoking interventions, experimental sound performances, and critical discussions, Sonic Acts Biennial 2022 asked how we can care, collectively and despite the exhaustion of energies, for what we cannot see or understand. Attuning and responding to ecological thinking, the Biennial interweaved an exhibition, performances, lectures, sound installations, artist presentations, workshops, excursions, and many more activities, engaging with the urgency of pollution in different and multi-faceted ways.


We would like to thank everybody who attended and engaged with the Biennial during this time. We are eternally grateful to all of our artists and speakers and to all of those who committed their time and energy in making it all happen, our production support and technicians, our amazing crew, our partner organisations and their staff, our photographers and film crew, and our invaluable team of volunteers. 

Sonic Acts Biennial 2022 would not have been possible without the generous support of our funders: Creative Industries Fund NL, Amsterdam Fund for the Arts, Mondriaan Fund, Fonds 21, Prins Bernhard Cultuurfonds, Performing Arts Fund NL, Stichting Hartwig Foundation, Erasmus+ Programme of the European Union, Arts Council Korea in collaboration with ISAC, and DutchCulture. 


Capturing it all, our team of photographers and videographers made sure that this Sonic Acts Biennial is one we can always look back on. A small selection of photos from each week are now available to view on our [Facebook](https://www.facebook.com/SonicActs/photos/?ref=page_internal) and [Flickr](https://www.flickr.com/photos/sonicacts/albums) pages. More photos as well as videos of the symposiums will be online soon on our social media and video channels [YouTube](https://www.youtube.com/c/SonicActsFestival) and [Vimeo](https://vimeo.com/sonicacts).  [Subscribe](https://sonicacts.us6.list-manage.com/subscribe?u=f8f2c0dae61384c2dba08e8ec&id=87c02476f0) to our newsletter to stay up to date and be notified when they are published. 


If you visited any of the programmes, we kindly ask you to fill in this short [online survey](https://sonicacts.typeform.com/to/CHqjJR1H) (10 minutes) to help us evaluate the Biennial and to improve future editions. We appreciate your feedback and hope to see you again at one of our events in the near future. By filling in the survey, you have a chance of winning either a Passepartout for the next Sonic Acts Biennial, the latest issue of _Ecoes_ magazine, or a Sonic Acts Biennial 2022 t-shirt & tote bag. 



In the meantime, continue engaging with the topics of the Biennial by subscribing to _Ecoes_ – a periodic magazine from Sonic Acts about art in the age of pollution. Subscriptions are available on a recurring or one-time basis. More information can be found [here](https://shop.sonicacts.com/). 

