Podcast appearances and mentions of jana winderen

A special micropod audioguide to the opening concert of Ultima 2024. Sound artists Chris Watson and Jana Winderen tell Rob Young about their commissioned piece fathom, a symphony of field recordings captured above and below the Norwegian Sea between Oslo and the mysterious Jan Mayen Island. Writer, interviewer, presenter: Rob Young Editor: Solveig Sørbø

Nos sumergimos en los sonidos de diferentes ambientes naturales, sonidos que han inspirado obras de muy distintas caracteristicas. Artistas que por razones diferentes, con técnicas diferentes se aproximan al rico mundo de los sonidos de la naturaleza. Escucharemos sonidos, grabaciones y obras sonoras de Chris Watson, Jana Winderen, David Tudor, Knud Viktor, Janette Cardiff y George Miller y Albert RousselEscuchar audio

Norwegian sound artist Jana Winderen captures the pops, drips, and rumbles of melting glaciers around the world. Using hydrophones, she records the unique symphony of thawing ice and animals below the surface and transforms it into haunting music. Her glacial soundscapes pose thoughtful questions about humanity's relationship with nature in the face of sobering climate shifts. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're back after a four month hiatus to bring you our list of the top 100 albums of 2023. Is it, at bare minimum, a month and a half late? Yes. By "we" do we mean "just Brad because Sean wouldn't want any part of this nonsense"? Yes again. But whatever, we're doing it anyway. It has been another great year for music, which at this point should not be shocking. We've got incredible team-ups galore, big names from the past making a mark in the present, new names bursting on to the scene, everything and the kitchen sink albums, spoken word weirdness, hip-hop standard bearers still innovating, gloopy synths, the sounds of a haunted house, and above all else, a lot of very aggressive, noisy music. It was a hell of a year. So... enjoy? (We'll be back to our regularly scheduled programming... eventually. Probably soon. We are still reeling from the Detroit Lions losing the NFC Championship game, so it might be a while) Artists Discussed (In Alphabetical Order): 2FAC, Aaron Dilloway, Aho Ssan, Altin Gun, Ana Frango Elétrico, Armand Hammer, Bandler Ching, BBBBBBB, Bill Orcutt, Billy Woods & Kenny Segal, Bounaly, Brass Riot, Bully, Caterina Barbieri, Charif Megarbane, Colin Stetson, Dead Times, Deena Abdelwahed, Disclosure, Divide and Dissolve, DJ Finale, DJ Girl, DJ Smiley Bobby, EABS & Jaubi, El Michels Affair & Black Thought, Ellen Arkbro, Embarker, Emergency Group, Euglossine, Fever Ray, Fire Toolz, Forest Swords, Gazelle Twin, Gezan & Million Wish Collective, Great Falls, Guilty Simpson & Uncommon NASA, Hitech, Hourloupe, Hyphyskazerbox, ICECOLDBISHOP, Jana Winderen, Janelle Monáe, Jlin, JPEGmafia & Danny Brown, Judgitzu, Karen y los Remedios, Katarsi, KEN Mode, Kool Keith & Real Bad Man, Kouns and Weaver, Larry Wish, Lauren Bousfield, Loraine James, Lost Girls, Lunch Money Life, Madlib, Meyhem Lauren, & DJ Muggs, Mallwalker, Marina Herlop, Matmos, MC Yallah, Mendoza Hoff Revels, MIKE, Mike Nigro, Model/Actriz, Mukqs, M-Ziq, Natalia Beylis & Eimear Reidy, Neupink, Novatron, Nuovo Testamento, Oozing Wound, OrangeTone, Organized Cream, Ortopedia Tecnica, Osees, Paavoharju, Physique, PoiL/Ueda, Private Lives, RP Boo, Screaming Females, Shit And Shine, Sightless Pit, Silver Apples & Makoto Kawabata, Sunik Kim, Sweeping Promises, TALSounds, Tee Vee Repairman, Teeth of the Sea, That Mexican OT, The Gate, The HIRS Collective, Tim Hecker, Tinashe, Tzusing, Victoria Monet, Vorsicht Kinder, Wound Man, Zoh Amba/Chris Corsano/Bill Orcutt --- Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Bluesky: https://bsky.app/profile/queenvenerator.bsky.social

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tonight's broadcast features Sweden's Letum, Jana Winderen's ‘The Blue Beyond‘, Noel Meek + Mattin's ‘Homage To Annea Lockwood‘, Caterina Barbieri, new Vince Clarke, Virus2020, Wallmart, With Skulls Drawn On It!, and FFI Digital.

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. This afternoon's broadcast features new Jana Winderen, Yousef Kawar, Vyormouth, hackedepicciotto, BMB con., Hannes Seidl, and Victoria, BC's Jayne Imagination.

Phytoplankton microsound, sketched-out dead ends, perfect warbles. The North Carolina-based electronic music producer discusses three important albums.Bana's picks: Jana Winderen – The WandererAutechre – AmberBoards Of Canada – Tomorrow's HarvestBana Haffar's new album, intimaa' إ​ن​ت​م​ا​ء, is out now on Touch. You can also listen/buy via Bana's bandcamp here. Bana's website is actually a Google sheet, and you check that out here. She's also on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Bienvenue dans votre RDV avec l'île au jazz, et meme bienvenue sur la plage de la Courtade à Porquerolles... Aujourd'hui nous plongeons justement dans les abysses d'un musée un peu spécial, la fondation Carmignac. Je ne sais pas si vous y êtes déjà allé, elle héberge des Matisse, Basquiat, des Warhol, mais on y trouve aussi une salle un peu spéciale presque sous-terre, presque ronde, avec aux murs une peinture unique, gigantesque de l'artiste espagnol Miquel Barceló, qui représente ce qui ressemble à des creatures marines…. et bien l'été dernier, le contrebassiste Michel Benita nous y avait joué une petite improvisation solo, et presque sous l'eau, dans le sens de submergé dans l'oeuvre... Vous pouvez voir cette oeuvre en vous rendant dans la collection permanente de la Fondation bien sûr, mais aussi à travers la photo accompagnant cette émission.. d'ailleurs dans la description nous glisserons aussi un lien vers une video de ce moment suspendu qu'on peut savourer en ligne. Je vous conseille aussi d'écouter tout cela au casque, car l'enregistrement en binaural vous permettra une véritable immersion dans la reverberation de la pièce: on a l'impression d'être au coeur des abysses… Je vous ai ensuite mixé ce "bloom" de notes de musiques avec des sons naturels collectés par l'artiste Jana Winderen sous la surface des océans (une pièce justement nommée "Submerged"), puis une pièce du compositeur niçois Michel Redolfi également appelée "Immersion partielle"... et oui vous avez compris que l'immersion radiophonique est le fil rouge de cette émission

We are hosting Nomeda & Gediminas Urbonas (artists and educators, born in Lithuania). They work together as Urbonas Studio, with an artistic practice that combines new media, urbanism, social science, ecology, and pedagogy to transform civic spaces and collective imaginaries. We'll start off the conversation focusing on their work on Swamps, that disregarded wealth of organic complexity; and together unpack questions around ecology, technology, and artistic practice. You'll also get to hear about their mode of operation within often contested social and political realities.This Episode includes sound samples that act as interludes from the work:The Swamp Observatory. Nomeda & Gediminas UrbonasSound mixing by Mouse on Mars based on sampling by pupils at the Innovitaskolan Visby, Sweden. 2022Ecotones are transitional spaces between two biological communities. https://en.wikipedia.org/wiki/EcotoneRiparian Territories are zones that tie and lie in-between land and rivers or streams.“Drain the swamp” refers to the removal of water from marsh areas which causes the removal of creatures dependent on the water. The phrase is adopted by politicians from Mussolini to Donald Trump who used it as a metaphor for ‘cleansing' of various sorts.Bruno Latour is a philosopher, anthropologist, and sociologist. http://www.bruno-latour.fr/Established in 1895, La Biennale di Venezia is a cultural institution that organizes events and exhibitions in Art (1895), Architecture (1980), Cinema (1932), Dance (1999), Music (1930), and Theatre (1934) departments. https://www.labiennale.org/enSwamp School took place in Swamp Pavillion curated by Nomeda and Gediminas Urbonas, the first individual pavilion Lithuania presents as a part of the 16th Venice International Architecture Biennale, Freespace, in 2018. Throughout the biennale, Swamp School functioned as a changing, flexible, open-ended infrastructure that supports experiments in design, pedagogy and artistic intelligence. https://www.swamp.lt/George Washington was one of the investors of the Dismal Swamp Company, a land speculation venture founded in 1763 to drain, tame and make profit from the Great Dismal Swamp, a wetland that stretches between Norfolk, Virginia, and Edeltan, North Carolina.The Baltic Pavillion was the joint contribution of Latvia, Lithuania, and Estonia to the 15th Venice International Architecture Biennale in 2016. https://balticpavilion.eu/Located in the Church of San Lorenzo in Venice, Ocean Space is a global center for exhibitions, research, and public programs harboring contributions to ocean literacy and advocacy through the arts. https://www.ocean-space.org/Barrenas refers to emerged lands and sandbanks of Venetian geography.Giardini della Biennale is the traditional site of La Biennale Art Exhibitions since the first edition in 1895.Swamp Radio is the independent chapter of Swamp School, featuring a number of contributors to explore spatial qualities of sonic experiments.Jana Winderen is a sound artist based in Norway. https://www.janawinderen.com/Sam Auinger is a sound artist based in Austria. http://www.samauinger.de/Petteri Nisunen is a sound artist based in Finland. https://g-n.fi/Tommi Gronlund is a sound artist based in Finland. https://g-n.fi/Nicole L'Huillier is an architect based in Chile and USA. https://nicolelhuillier.com/The Marsh Labrador Tea (Rhododendron tomentosum) is an evergreen shrub that preferably grows in moors and peat soils. https://en.wikipedia.org/wiki/Rhododendron_tomentosumPirate radio refers to a radio station that broadcasts without a valid license. https://en.wikipedia.org/wiki/Pirate_radioSant'Erasmo is an island in the Venetian Lagoon lying north-east of the Lido island and east of Venice, famous for its blue artichokes. https://en.wikipedia.org/wiki/Sant%27ErasmoSundews are one of the largest groups of carnivorous plants. https://en.wikipedia.org/wiki/DroseraMaroons were people who inhabited in the Great Dismal Swamp after escaping enslavement. https://en.wikipedia.org/wiki/Great_Dismal_Swamp_maroonsSwamp Thing is a fictional humanoid/plant elemental character, created by writer Len Wein and artist Bernie Wrightson. In the mid-1980s a storyline by Alan Moore elevated this character and comics series by reworking the whole origin story building a new world around it. This new Swamp Thing was timely, philosophical and ahead of its time in many ways. https://en.wikipedia.org/wiki/Swamp_ThingAlan Moore (b. 1953) is an English author known primarily for his work in comic books. https://en.wikipedia.org/wiki/Alan_MooreStaying with the Trouble: Making Kin in the Chthulucene is a 2016 book by Donna Haraway, published by Duke University Press. https://www.dukeupress.edu/staying-with-the-troubleWalden is a book by American transcendentalist writer Henry David Thoreau.Swamp Observatory (2020) is an installation by Urbonas Studio, commissioned for the exhibition, Critical Zones – Observatories for Earthly Politics, curated by Bruno Latour and Peter Weibel at ZKM Center for Arts and Media. The installation proposes to approach to the swamp as an interface to Gaia and continues to regenerate itself at different locations and through different mediums.Swamp Game is the extension of Swamp Observatory installation and stands as an invitation to experience the relations between organisms and their environments.Jutempus is a non-profit, artist-run initiative that was founded in 1993 and re-organized in 1997 on the initiative of Nomeda and Gediminas Urbonas in collaboration with other artists and creative people at the former Cultural Palace of the Railway Workers in Vilnius, the capital and largest city of Lithuania. http://www.vilma.cc/jutempus/Simone de Beauvoir (1908 – 1986) was a French existentialist philosopher, writer, social theorist, and feminist activist. https://en.wikipedia.org/wiki/Simone_de_BeauvoirGround Control: Technology and Utopia is a collection of essays that expand upon an exhibition programme of the same name. The contributors of the collection reflect on the broad divisions and links in culture and history between Eastern and Western Europe.Baltic Art Center is a residency for contemporary art on the island of Gotland in the Baltic Sea. https://www.balticartcenter.com/home/Curated by Marco Scotini, Disobedience Archive, is an ongoing, multi-phase video archive and platform of discussion that deals with the relationship between artistic practices and political actions. The latest edition of the archive was presented as a part of the 17th İstanbul Biennial through a display setting designed by Can Altay. http://www.disobediencearchive.othe rg/Mel King (b. 1928) is an American politician, community organizer, and educator. https://en.wikipedia.org/wiki/Mel_KingThe Tent City Protests in Boston was a public revolt demanding the right to affordable housing, led by Mel King in 1968.Naomi A. Klein (b. 1970) is a Canadian author, social activist, and filmmaker. https://en.wikipedia.org/wiki/Naomi_KleinThe Occupy movement is an internationally localized socio-political movement in search of “real democracy”. https://en.wikipedia.org/wiki/Occupy_movementThe Black Panthers, also known as the Black Panther Party, was a political organization founded in 1966 by Huey Newton and Bobby Seale to challenge police brutality against the African American community. https://en.wikipedia.org/wiki/Black_Panther_PartySylvère Lotringer (1938 – 2021) was a French-born literary critic and cultural theorist. https://en.wikipedia.org/wiki/Sylv%C3%A8re_Lotringers. This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on November 23rd, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

The permafrost is a thriving ecosystem, teaming with life, mythology, histories and futures, hidden just below the surface. Yet unlike tropical rainforests or the deep oceans, this frozen expanse rarely appears in the cultural imagination. Curator Sophie J Williamson ventures on a journey to discover the life of the permafrost. In -40° winter of the Canadian Yukon Valley, ancient forests, perfectly preserved by the permafrost, are uncovered by miners and 10,000-year-old grass seeds sprout into life. In the blustery remote Artic town of Ny-Ålesund, Svalbard (the world's northernmost settlement) cryomicrobiologists drill boreholes hundreds of meters deep to explore the deepest and oldest of earthly ecologies, bringing to the surface living microbes that are hundreds of thousands of years old. And in unceded Sápmi lands of northern Finland, permafrost mounds decompose into marshy peatlands, while biologists trace the shifting bio- and geoacoustics of a changing ecology. From the piercing-white tundra and the hundreds of thousands of lakes across the vast expanse of Siberia, indigenous folklore emerges from the unknowns of the icy underlands. And scientists in Yakutsk (the world's coldest city), travel the icy landscapes to discover the stories secreted within the still fleshy, visceral carcasses of mammoths and ancient creatures that are exposed as the millennia-year-old ice thaws. With contributions by Hannu Autto, Jonathan Carruthers-Jones, Tori Herridge, Karen Lloyd, Sanna Piilo, Svetlana Romanova, Nikita Tananaev, Peter von Tiesenhausen, and other members of Sámi, Sakha and Yukagir communities of unceded Sápmi territory and Northern Siberia who prefer not to be named. Specially commissioned spoken word piece by Sata Taas (written and spoken by Al-Yene and Jaangy, with sound design by Karina Kazaryan aka KP Transmission) With excerpts of Jana Winderen's 'Energy Field', 'Listening Through the Dead Zones' and 'Pasvikdalen'. Published by Touch Music. Recorded and curated by Sophie J Williamson Sound design by Rob Mackay Produced by Mark Rickards A Whistledown Scotland Production for BBC 3 Imagining the Permafrost is part of the wider arts programme, Undead Matter. Follow on Instagram @undead_matter

Tomorrow Is The Problem PodcastWelcome to the ICA Miami Podcast. Each season, we'll explore familiar concepts from everyday life that we often take for granted.We'll expand these concepts to understand their critical historical and cultural underpinnings and forever change the way you view them.Sound WavesThe focus of this second season is sound as art, music, protest, and violence.An exploration of how sounds shape our experience of the world requires a study of music, but also that of the less explored sonic landscapes that exist outside of the anthropomorphic auditory register.On Listening as an Ethical PracticeFor our season finale we offer hot, crunchy, gooey sounds!We discuss the ethics of sound and how the old lexicons of sound have trained our cognitive biases to hear in racialized, gendered,and classist terms.Time Stamps + Takeaways[0:00] Hearing versus listening, passivity and intentionality. A reading of Claudia Rankine's Citizen.[3:40] Nina Eidsheim talks about the intermaterial vibrational quality of sound as well as the implicated nature of the listener — the receptor as an integral part of sound itself.[7:45] “Figures of sound” — like figures of speech — are susceptible to cognitive biases. Nina explains what this looks like, and how to challenge this in ourselves.[12:02] Hot, cold, crunchy, gooey, explosive sounds? Nina invites us to disrupt our patterns and revisit long-established lexicons.[14:35] Jana Winderen speaks to the sounds of the seas, and while they are quiet, they are by no means silent — and neither are humans — as well as how she records her work.[18:43] We weren't always this loud. Jana shares the destructive impacts of human noise pollution.[22:54] Tina Campt on quiet photographs and the inexistence of silence in the world.[26:43] Black Germans and their relationship to sounds of war was a path to a new sonic modality for Tina. She also speaks to the power of photographs as a tool for control and propaganda.[30:46] Tina reads a photograph, which leads to thoughts on how we consume media.[30:47] Season 2 closes with a quiet encouragement to be intentional in our listening practice and invites listeners to tune in for season 3.Contributors + GuestsNina Sun Eidsheim / Scholar + Professor.Jana Winderen / Artist.Tina Campt / Professor.Donna Honarpisheh / Assistant Curator and Host.This podcast was made in partnership with Podfly Productions. This episode was written by Isabelle Lee and Donna Honarpisheh, and edited by Frances Harlow. Our showrunner is Jocelyn Arem, and our Sound Designer and Audio Mixer is Nina Pollock. Links + LearnICA MIAMIPodflyJunk, by Bruno Hunger and Gregor HuberPauline OliverosCitizen: An American Lyric, by Claudia RankineThe Race of Sound: Listening, Timbre, and Vocality in African American Music, by Nina Sun EidsheimQuotes + Social“If we believe that something like gender exists, then we will hear gender in people's voices, if we believe that something like class, or race exists, then we will hear that as well, even when we listen to music.” — Nina Sun Eidsheim“Humans are around most of the planet all the time. So when you start recording with hydrophones, you will realize how loud we are with engines, with ferries, shipping traffic. All this kind of seismic testing, air guns, sonars, military sonar…” — Jana Winderen“What we mistake for quiet is an assumption that silence actually exists in the world. So quiet to me is a profoundly overlooked sonic modality. It is overlooked because we think of it as an absence when in fact it is a really subtle presence. “ — Tina Campt

In this episode Claudia talks to Jonathan Prior about sonic methods and together they try to explore the ways in which methods such as recording, sound walking, and listening could help animal studies scholars better understand and appreciate the animals and worlds they are most concerned with.  Date Recorded: 12 October 2021 Dr Jonathan Prior is a lecturer in Human Geography at Cardiff University, Wales. His research and publications take an interdisciplinary approach, spanning environmental philosophy, sound studies, and landscape research. His first book, Between Nature and Culture: The Aesthetics of Modified Environments, co-authored with Emily Brady and Isis Brook, was published in 2018 by Rowman & Littlefield. You can access some of Jonathan's recordings on his audio project website (12 Gates to the City) or archived on the Internet Archive. You can also learn more about Jonathan;s work on his university's website or connect with him on Twitter (@jd_prior).   Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the geographical and historical relationships between animals (specifically cows) and cities. Contact Claudia via email (info@theanimalturnpodcast.com) or follow her on Twitter (@ClaudiaFTowne). Featured: Sonic Geographies, exploring phonographic methods by Michael Gallagher and Jonathan Prior; The reintroduction of beavers to Scotland by Kim Ward and Jonathan Prior; Making Noise in the Roaring twenties: Sound and Aural History on the Web by Emily Thompson; Acoustic Ecology and the World Soundscape Project by Barry Truax; Chris Watson's website; David Dunn and The Acoustic Ecology Institute Website; In the Field: The Art of Field Recording by  Jana Winderen.   The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight

dublab Intermission Studio brings together musicians, sound artists and writers from the Unsound LP & Book project ‘Intermission'. This first episode features a round table discussion between Chris Watson, Jana Winderen and Kristen Gallerneaux --- Support this podcast: https://anchor.fm/dublab-inconversation/support

The next mixtape instalment comes from the hand of one of the sound artists we have long followed and admired. Jana Winderen is contributing to the series with a mix inspired by one of her recent compositions, the track "Listener" which appears in the VA compilation Colliding Wind by Concentric Records. Jana Winderen is an artist and field recordist that has dedicated a big part of her life recording and revealing sounds from the most remote sources – oceans, glaciers, ice cavities. A multifaceted artist, her impressive amount of work expands from installations, performances, exhibitions, recording releases, field trips. Her practice pays particular attention to audio environments and to creatures which are hard for humans to access, both physically and aurally – deep under water, inside ice or in frequency ranges inaudible to the human ear. With a background in Marine Biology and also in Fine Arts, she gives life to her compositions listening over and over and, slowly collaging things together, more like sculpting than writing - something she shared with us in an early interview. The Listener’ is a sound composition created from hydrophones and sound field recordings in and by the River Orne in Normandy. As an indicator of the river´s waters health, freshwater biologists count underwater insects and use this data. If one identifies the sound of the specific underwater insects with their varying ability to survive forms of pollution, one can possibly, through focused listening, reach an understanding of the health of the river. ‘The Listener’, was a 6 channel audio installation part of the exhibition Second Nature and the project Nature and Renaturation: A Sensory Overview of a History of Changing Watercourses. A three-year-long project which started in 2014 by Thierry Weyd, Esam Caen-Cherbourg (Art Academy) and Camille Prunet, Research Coordinator chez École Supérieure d’Arts et Médias Caen/Cherbourg. And early this year the track has been included in the Concentric Record VA debut trilogy (courtesy of Touch). CONCENTRIC RECORDS is a multi-disciplinary record label exploring new music that transcends identity and definitions, and is inspired by a sense of collective movement. Spawned by the work of artists who operate in between set approaches and styles, the label releases high quality, carefully-designed physical editions of recordings that defy genres and promote inter-cultural links. In colliding winds, they approach the concept that ‘a COLLIDING WIND binary' is a binary star system in which the two members are massive stars that emit powerful, radiatively-driven stellar winds. The location where these two winds collide produces a strong shock.’ As we reference the state of world chaos today, a colliding-wind is a reassuring reminder of the inspiring thought that the act of coming together as one produces exponentially powerful results. Tracklist: Anodyne - We Are All We Have (Autechre Remix) Melissa Pons - Freita KMRU - Why Are You Here John Grzinich - kinetic sense KMRU - me tal Philip Jeck - Fleeting BJNilsen - Impossibilidad Ipek Gorgun - Tserin Dropchut Ian Wellman - Mercury Seefeel - Lux1

Although they cover more than 70% of the globe’s surface, most people have little idea about what our oceans sound like. In some traditions of science and storytelling, the sea was a place of deathly quiet - “The Silent World” - but of course there’s anything but silence down there. Sound actually travels further and faster in water than air. Norwegian artist and composer Jana Winderen has been recording and sharing sounds of the deep for nearly two decades, dangling microphones from boats to uncover sonic wonders such as the tectonic boom of melting ice, singing whales, and fish that howl at the moon. With a background in natural sciences and fine arts, Jana Winderen’s vast sound archive brings the oceans to life in a unique way: transporting us to Greenland, where the waters moan under the pressure of the climate emergency; plunging us into cacophonous Caribbean coral reefs; taking us to a Thai fishing community, who for generations have passed down traditional techniques for underwater hearing. By listening closely one can perhaps look at the planet we live on with a new perspective. Recordist and host: Jana Winderen Dog: Charlie Contributors: Madeline Appiah, Carlos Duarte, Hans Slabbekoorn, Rungrueng Ramanyah / รุ่งเรือง ระหมันยะ (Bang Nee) Translation and photography: Palin Ansusinha Mixing: Mike Woolley With thanks to: TBA21-Academy and Ruben Torres Producer: Jack Howson A Reduced Listening Production for BBC Radio 3

Terror groups and separatists run riot in the sprawling region, and France has had some success in keeping the peace. But how, and when, to draw down its troops? Ngozi Okonjo-Iweala, the World Trade Organisation’s history-making new leader, has quite the task ahead to rebuild trust in and among the institution’s members. And the worrying shifts in subsea soundscapes. Additional audio courtesy Jana Winderen. For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer See acast.com/privacy for privacy and opt-out information.

Terror groups and separatists run riot in the sprawling region, and France has had some success in keeping the peace. But how, and when, to draw down its troops? Ngozi Okonjo-Iweala, the World Trade Organisation’s history-making new leader, has quite the task ahead to rebuild trust in and among the institution’s members. And the worrying shifts in subsea soundscapes. Additional audio courtesy Jana Winderen. For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer See acast.com/privacy for privacy and opt-out information.

Victoria Gill and guests discuss the signs and symptoms of melting ice and anthropogenic climate warming, illicit CFC production and the racket we make in the seas. As two robotic missions from UAE and China arrive at Mars , and a third from NASA arrives next week, UK astronaut Tim Peake talks of the international collaboration in Mars research that is to come. And continuing BBC Inside Science's look at some of the issues facing COP26 delegates to Glasgow this autumn, Victoria is joined by cryosphere scientist Dr Anna Hogg, Anna studies – sometimes from space - how polar and Greenland ice sheets are melting and shifting as our climate warms. But those giant volumes of ice and concomitant rising sea levels might not be the only threat to people’s lives. It may be that the recent deadly flash flood in India was a result of a swiftly melting Himalayan glacier. The Montreal treaty - prohibiting the production of CFCs to allow the man-made polar hole in the Ozone layer identified back in the 1980s to repair - has long been cited as the classic example of an effective international agreement to protect earth's environment. But just a few years ago in 2018 Luke Western and colleagues identified not just that CFC production was suddenly and unexpectedly rising, but that it was mainly emanating from an area in eastern China. It was speculated then that their use in foams for buildings was happening illicitly on a large scale. This week, they happily announce that those emissions seem to have ceased, and that the target of a healthy ozone layer is back on track. The oceans are, since man first took to the waves, a noisy place. In a comprehensive paper published last week in the journal Science Carlos Duarte and colleagues describe how huge an impact the many anthropogenic noises that echo for miles across the sea beds have on virtually all aquatic life. He argues that it is one stressor, rather like CFCs, that we could and should take swift and effective action to address, that the time for that is ripe, and that doing so will see a swift rebound in many aquatic ecosystems. Humans are not naturally adapted to hear the noise underwater, but to illustrate the point, co-author digital artist Jana Winderen has made an acoustic demonstration for your benefit, of quite how noisy neighbours we are Also, for listeners on BBC Sounds, the BBC's Roland Pease gives an update on where and how scientists think the covid-19 epidemic began, after a WHO team of scientists report on their recent mission to Wuhan and the infamous market. As Roland and WHO delegate Peter Daszak surmise, we still don't quite know, but it wasn't in a lab. Presented by Victoria Gill Produced by Alex Mansfield Made in Association with The Open University.

In the eighth episode of "Barbara London Calling," Barbara speaks with Jana Winderen, a Norwegian artist who straddles the fields of art, music and science. Her work encourages us not just to hear, but to listen, as she explores the aural dimensions of faraway landscapes. Winderen travels to the ends of the Earth, often alone, where she records nearly imperceptible sounds using an arsenal of sophisticated recording gear. She might drop a microphone inside the crevice of a gigantic glacier or hundreds of feet deep into the frigid Arctic Ocean, or even into Manhattan's East River, where she listens to the sounds of fish communicating.

Desde el pasado 14 octubre, y hasta el 11 enero del 2021, el Museo Nacional Centro de Arte Reina Sofía (Madrid) acoge, en la tercera planta de su Edificio Sabatini, una amplia exposición titulada "Audiosfera. Experimentación sonora 1980-2020". El comisario —y, en cierto sentido, gran protagonista— de la exposición, Francisco López, escribe que ésta “(…) propone cubrir un vacío histórico y cultural en cuanto al reconocimiento, exposición y análisis de una parte esencial de los cambios recientes que se han dado en la concepción artística de la creación sonora”. Ahora bien, tal y como argumentamos en esta edición de Ars Sonora, podría afirmarse que, en realidad, “Audiosfera” apenas proporciona elementos de análisis que permitan valorar apropiadamente ni las obras presentadas en la exposición (nada menos que 728 en total), ni en consecuencia esos cambios a los que se refiere López. En un sentido similar, tampoco es fácil entender por qué el comisario afirma que su exposición ha sido “(c)oncebida desde una perspectiva social, con el objetivo de revelar y proporcionar un contexto para la reflexión y discusión sobre los cambios tecnoculturales ocurridos desde la década de 1980”, cuando ese contexto interpretativo, según explicamos en el programa, ha sido reducido al máximo en lo que respecta a cada una de las obras, lo cual disminuye en igual medida las posibilidades de la reflexión a la que alude explícitamente Francisco López. No queda claro, finalmente, qué se quiere decir exactamente cuando se habla de que la exposición ha sido “concebida desde una perspectiva social” —si bien esta cuestión será más detenidamente examinada en la próxima edición de Ars Sonora, que también estará dedicada a esta ambiciosa y relevante exposición, cuya visita no dejamos de recomendar por su excepcionalidad y previsible trascendencia—. Acompañamos estos pensamientos de la audición de algunos fragmentos de obras presentadas en “Audiosfera”, firmadas por Jana Winderen (“Heated”, de 2008), Olivia Block (“Foramen Magnum, de 2013), Chantal Dumas (“Oscillations planétaires: Magnétisme terrestre, de 2019), Barbara Held (“Pausa”, de 2018), Christina Kubisch (“Seven magnetic places”, de 2017) y Susana López (“Fenomenología”, de 2012). Aunque, de manera excepcional, apenas comentamos cada una de estas composiciones en esta edición de Ars Sonora —al contrario de lo que es habitual en nuestro programa desde su fundación en 1985, pues consideramos que ello es fundamental para el “reconocimiento, exposición y análisis” de las piezas y sus autores—, sí proporcionamos las referencias a las ediciones anteriores de nuestro espacio dedicadas a cada una de las mencionadas artistas. Escuchar audio

La protagonista de esta edición de Ars Sonora es Jana Winderen, artista sonora especialmente dedicada a la práctica de la fonografía, nacida en 1965 en Bodø (Noruega). Las grabaciones de campo, que constituyen la principal materia prima para los trabajos compositivos de Winderen, reflejan su interés por los entornos naturales, en general, y más específicamente hacia aquellos relacionados con la fauna marina (cuyos sonidos registra, a menudo mediante el uso de hidrófonos). Sin duda ese interés fue alentado por los tempranos estudios de la autora en el Departamento de Ciencias Naturales de la Universidad de Oslo entre 1984 y 1989, antes de que se trasladase a Londres, donde se formó en el ámbito de la creación artística en la Universidad de Goldsmiths. Partiendo, pues, de los sonidos derivados de la naturaleza —entendida, a veces, a través de una concepción un tanto romántica e idealizada de este complejo concepto—, así como de algunos fenómenos atmosféricos, Jana Winderen propone composiciones que se caracterizan por su sutileza en la orquestación y en las transiciones entre los diversos materiales sonoros empleados, por ejemplo, en obras como “Evaporation”, primera de las tres composiciones incluidas en su disco homónimo de 2014. También escuchamos “The Noisiest Guys On The Planet”, donde los antes evocados animales marinos —en este caso, los crustáceos decápodos— devienen ruidosos protagonistas de una obra repleta de contrastes en sus diversos planos sonoros. Concluimos, después de repasar las felizmente reiteradas visitas de Winderen a nuestro país en los últimos años, con un extenso fragmento de “Aquaculture”, pieza extraída del disco "Energy Field", de 2010, que le valió a nuestra autora el premio Golden Nica del Festival Ars Electronica de Linz (Austria) en la categoría de músicas digitales y arte sonoro. En ella se entremezclan grabaciones realizadas en el mar de Barents —entre Noruega y Rusia— y Groenlandia, recogiendo sonidos de glaciares y fiordos, así como del mar abierto. Una nueva confrontación con esos paisajes sonoros extremos que nos recuerdan la vertiginosa inmensidad de una naturaleza semejante a la retratada por tantos artistas del siglo XIX pero que, siglo y medio después, y bajo el barniz modernizante de las más recientes tecnologías de grabación de sonido, se incorporan al dominio de la creación sonora experimental como si nada hubiera pasado —en cuanto al pensamiento estético en torno al concepto de naturaleza— desde entonces. Escuchar audio

For this new episode, we're thrilled to meet Jana Winderen, researcher and artist (Goldsmiths, university of London) with a background in mathematics, chemistry and fish ecology from the university of Oslo. Jana focuses her work around audio environments and ecosystems which are hard for humans to access, both physically and aurally. We will discuss her practice, and the environmental stakes it holds (underwater noise pollution) as well as technical topics (hydrophone, portable pre-amps, ultrasound, recording techniques). Nuts And Bolts is hosted, recorded and engineered by Jessica Sligter, with editing by Julia Reidy. This episode was made possible with the support of Norwegian Culture Fund and Komponistforeningen. Check out the Nuts And Bolts gear-tutorial videos, get there via our Instagram page @nutsandboltspodcast

Les Tympans de Magellan, c'est un podcast mensuel qui fait voyager vos oreilles. Chaque mois, un nouveau pays mis à l'honneur à travers une liste de morceaux soigneusement choisis. Le pays du mois : Pour ce vingt-deuxième épisode, C'est vous, auditeurs et auditrices, qui avez voté pour le pays dans lequel on allait envoyer vos oreilles. Et entre quatre propositions c'est la Norvège que vous avez retenu ! Tracklist : Ánde Somby - "Gadni (Spirit of the Mountain)" Nils Økland - "Straum" Øyvind Torvund - "Starry Night" Arcturus - "Kinetic" Jana Winderen - "The Noisiest Guys on the Planet" (extrait) Mari Boine - "Adin & Isak - My Treasures" Maja S. Ratkje - "Sayago – En sådan glidende lyd" Erlend Apneseth Trio with Frode Haltli - "Salika, Molika" Jenny Hval - "Sabbath" Bendik Giske - "Exit" Paal Nilssen-Love - "Five Dollars and a Jug of Rum" Anja Garbarek - "I Won't Hurt You" Bambee - "Do It Like You Do" Karpe - "SAS PLUS / SAS PUSSY" (extrait) Alejandra & Aeron - "Hannah Loves the Simple Sad Beauty of a Patsy Cline Tune" Eirik Suhrke - "Ending 1" Envoyez vos morceaux Vous avez jusqu'au 8 mars 2020 23:59 pour envoyer un titre norvégien accompagné de votre commentaire à wazoo@xsilence.net. Nous sélectionnerons certains des morceaux reçus pour les diffuser et lirons le commentaire associé. • Générique de début : Depeche Mode - "World in My Eyes"• Générique de fin : Wyatt / Atzmon / Stephen - "What a Wonderful World" Retrouver le podcast : XSilence | Facebook | Twitter | Apple Podcasts | Podcloud

On today's show, we delve into the hidden frequencies of the natural world with artist and ecologist Jana Winderen, and explore what capturing these secret sounds can tell us about the environment. Jana has an impressive body of work. You can find more of her audio-visual works on Touch Radio and her latest release, Spring Bloom in the Marginal Ice Zone, can be purchased on Bandcamp. Bio: Jana Winderen is an artist educated in Fine Art at Goldsmiths, University of London with a background in mathematics, chemistry and fish ecology from the University of Oslo. Jana focuses her work around audio environments and ecosystems which are hard for humans to access, both physically and aurally. Amongst her activities are immersive multi-channel sound installations and concerts, which have been performed internationally in major institutions and public spaces in America, Europe, and Asia. Winderen lives and works in Oslo. About Dr. Yewande Pearse: Born and bred in North London, Dr. Yewande Pearse completed her PhD in Neuroscience at King's College London in 2016. She is now based in Los Angeles, where she works as a Research Fellow, developing a stem cell therapy treatment for a rare childhood brain disease. Outside of the lab, Yewande is a collaborator of Science Gallery Detroit, sits on the Programming Committee Spring/Summer 2019 at Navel Los Angeles, and was a TEDMED  Research Scholar for the 2018 Stage Program. Yewande also writes for Massive, an online science media platform. Sound Science Podcast is produced by dublab. Please visit dublab.com to find out more!

Norwegian artist Jana Winderen records sounds above and below the surface of our blue planet to compose site-specific sonic environments. For four days during Miami Art Week 2019, she invites you to step inside the Collins Park Rotunda on Miami Beach, for The Art of Listening: Under Water. Miami’s waterways, the Barents Sea and the Tropical Oceans come together within the spherical space, to immerse you in an acoustic collage. The Art of Listening: Under Water portrays the fragile and complex beauty that circulates through the currents of the interconnected marine world. Winderen’s ephemeral installation promises to leave us with a lasting impression. Those who take time to float into the sensory experience will take away a new understanding of sonic relationships that echo across our seas.  Exploring a global issue of growing concern, our episode with Jana Winderen is the perfect finale for 2019. Visit our website, to hear other conversations centered on environments at risk and explore opportunities to engage with our new and ongoing initiatives. Sound Editor: Anamnesis Audio | Special Audio: Jana Winderen  Related Episodes: Ellen Harvey on Public Art and Climate Action, Bill Fontana on Sound & Space, Where Art Meets Sand and Social Behavior, Sound Art and Contemporary Culture with IKT Miami, Art and the Rising Sea Related Links: Jana Winderen, Tony Myatt, Audemar Piguet Art Projects, Albert Vrana, Art Basel Miami Beach  

We explore and discuss music genres with which we are unfamiliar. Lewis Gilbert - Roundstonehttps://gruenrekorder.bandcamp.com/album/roundstoneChris Watson - El Tren Fantasmahttps://chriswatsonreleases.bandcamp.com/album/el-tren-fantasmaJana Winderen - Energy Fieldhttps://janawinderen.bandcamp.com/album/energy-field

Performancekonstnären Maja Solveig Kjelstrup Ratkje använder sin röst som miljöaktivist mot norska oljeindustrin. Ljudkonstnären Jana Winderen skapar ljudkonst av blommande plankton i Barents hav. Sofia Nyblom möter kompositören Maja S K Ratkje vid hemmet i Svartskog utanför Oslo för ett samtal om norsk nationalism, oljeexploatering och ekosorg. Ett besök i polarfararen Roald Amundsens hem påminner hur drastiskt polarisen minskat sedan hans bravader för 100 år sedan. Ljudkonstnären Jana Winderen gör ljudcollage av fiskljud, krackelerande polaris och blommande plankton i Barents hav med hjälp av hydrofoner. - Hur kommer historien att döma oss som brutit ner världens ekosystem? frågar sig Maja Ratkje, och drar en parallell till andra världskriget. - De som inte tar ställning och väljer sida är ju kollaboratörer med fossilindustrin. I serien Musikaliska landskap möter Sofia Nyblom tonsättare och musiker i deras landskap för att tala om klimatsorg, och lyssna av den växlande och livsviktiga dialogen mellan människa och natur. Del 2 av 3.

Lyder fra undervannsinsekter, krepsdyr, fisk og hval. Lydkunstner Jana Winderen har vært opptatt av livet i vann siden hun som sjuåring fikk boka "SOS for jorden". I en ny utstilling ved Kunstneres Hus skal hun over 30 lydkanaler få oppleve livet under vann.

Wildlife recordist Chris Watson is joined by award-winning sound artist Jana Winderen on a voyage around Norway’s Austevoll islands, aboard a research vessel recording the grunting of spawning cod. Help support our independent journalism at theguardian.com/sciencepod

This flashback to Norway 2017 features our sonic encounters and conversations with artists, curators and cultural producers in the capital city of Oslo and in Tromsø, a small town north of the Arctic Circle. In 2017, Fresh Art International founder and artistic director Cathy Byrd traveled to Norway as a new member of the International Association of Curators of Contemporary Art (IKT), an organization designed to support and connect curators in our global community. The Office for Contemporary Art, Norway, and Oslo Pilot (now known as osloBiennalen) guided our first experience of contemporary Nordic art and culture. In 2019, when IKT convenes for the first time in the United States, Fresh Art International will stage three podcast events with IKT delegates and Miami-based curators and cultural producers. Diverse venues, partners, grantors and sponsors make possible the realization of IKT Miami and the Post-Congress that follows in Havana, Cuba. Voices: (alpha order) Thale Fastvold and Tanja Thorjussen/LOCUS, Freek Lomme/Onomatopee, Charlotte Nilsen, Marita Isobel Solberg, Ánde Somby, Amund S. Sveen, Jana Winderen, Tori Wrånes, Jana Winderen Sound Editor: Anamnesis Audio | Special Audio: Margrethe Pettersen, Jana Winderen, Tori Wrånes | Photography: Fresh Art International, featured artists and curators, IKT and OCA Norway Related Episodes: Sounds of Contemporary Art in Norway, Curating in a Time of Global Change Related Links: IKT, OCA Norway, osloBiennalen  

From a fresh and clean installed production Mac  - after years of ‘just updating the OS’. Hello World! Here we are. Thank you Patrons for supporting the artists and the Ambient Zone. We now have 112 Patrons that make this show possible. Believe me when I say, there’s a ton of things involved to make this show happen. To make sure everything is working out fine and the show finds it’s way from our studios to your speakers :) Are you ready for a serious Journey? “Dark Fader” is a journey into Dark Ambient music, not particularly dinner music …. no. If you're looking for that please search for something more light to accompany you tonite.  But if you’re interested in serious matters, why don’t you dive into this episode and explore the releases and labels. Tracks performed by Jana Winderen, Loren Nerell, Bruno Sanfilippo, Max Corbacho, Parhelion, Sinius, Apocryphos, Kammarheit, Atrium Carceri and protoU.  Checkout the links in the tracklist and buy the originals today ! " Dark Ambient sets a tone, mostly very cinematic, mostly very deep. You have to prepare yourself a bit: once you start listening there will be no turning back. You’ll be in the middle of it. Just close your eyes… and see " - TC #dark #ambient #zone Have a wonderful listening experience! * TC *  // ambient zone //

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

Programme de GILLES MARDIROSSIAN pour webSYNradio : le Temps, l'Espace, la Ville, la Nature. Avec, chemin faisant, un hommage aux artistes Chris Watson, Chantal Dumas et Christian Calon, Hanna Hartman, Lionel Maretti, Stephane Marin, Fernand Deroussen, Luc Ferrari, Eric La Casa, Pali Meursault, Jana Winderen.

Renowned artist, field recordist and environmentalist Jana Winderen has returned to record natural sounds in this area for many years. In this recording you can hear her capture an icy, dripping brook and hibernating tadpoles beneath the snow. Originally broadcast on Late Junction on BBC Radio 3.

“We bombard ourselves with sound and music… it’s everywhere.” So says musician, artist and nature recordist Chris Watson who has captured sounds for numerous wildlife TV shows, including Sir David Attenborough’s Planet Earth series on the BBC among many others. In this episode our ever-intrepid host Tim Hinman points his microphone at, well… microphones, speaking with Watson and sound artist Jana Winderen about our ever-fascinating natural world and the jungle of sounds it makes.

Programme de ZAHRA MANI pour webSYNradio : Seminal Moments. Une sélection de titres qui ont particulièrement influencé et nourri mon parcours ces dernières années. Le tronc commun est l'espace acoustique et les singularités vocales, et la qualité de ces univers sonores qui recouvrent aussi bien des compositions, des improviSations, des field recordings, des instrumentaux, des live ou des productions en studio.Avec les sons de Thomas Köner, György Ligeti, Rubert Huber, Jana Winderen, Pauline Oliveros, Mia Zabelka, John Cage, Tibor Szemzö, Janis Joplin.

Programme de ZAHRA MANI pour webSYNradio : Seminal Moments. Une sélection de titres qui ont particulièrement influencé et nourri mon parcours ces dernières années. Le tronc commun est l'espace acoustique et les singularités vocales, et la qualité de ces univers sonores qui recouvrent aussi bien des compositions, des improviSations, des field recordings, des instrumentaux, des live ou des productions en studio.Avec les sons de Thomas Köner, György Ligeti, Rubert Huber, Jana Winderen, Pauline Oliveros, Mia Zabelka, John Cage, Tibor Szemzö, Janis Joplin.

I dette afsnit af LYDKUNST kan du høre eksempler på lydkunst produceret til radio, når radiostationen The Lake, med projektet Works for Radio, genoptager den gamle tradition med at kommissionere kunstværker til radioen. På en frostklar lørdag aften i starten af januar inviterede radiostationen The Lake til et særligt lyttearrangement i Nikolaj Kunsthal. Her kunne publikum lytte til otte kunstnere, der præsenterede otte helt nye værker, produceret til The Lakes projekt, Works for Radio. Lyttearrangementet blev transmitteret direkte på The Lake, så de der fortrak at blive hjemme i varmen eller de der ikke havde nået at få billetter til det udsolgte arrangement, kunne lytte med hjemme fra stuerne. Værkerne kunne efterfølgende opleves på en mindre udstilling i Nikolaj Kunsthal, og indgår i dag i The Lakes særlige rotationssystem af musik og andre lydværker. Vi mødte Kasper Vang fra The Lake, og ham kan du høre fortælle om, hvordan de på The Lake ønsker at undersøge hvad radio er for et medie i en kunstnerisk sammenhæng, og om hvordan de ønsker at gøre op med den traditionelle form for radiolytning. Du kan også høre to af de otte kunstnere fortæller om deres bidrag til Works for Radio. Den danske kunstner Gry Bagiøn fortæller om, hvordan en ven der blev syg og en rejse der gik i vasken, blev til lyden af hvaler i en trappeopgang. Og den norske kunstner Jana Winderen fortæller om, hvordan hun har ladet sig inspirere af grønlandske hvalfangere, der ved hjælp af deres årer kunne lytte til hvaler under vand, længe før vi havde moderne teknik. Podcasten er blevet til i samarbejde med kunsten.nu og med støtte fra Statens Kunstfond, Dansk Komponist Forening og Koda. Velkommen til og god fornøjelse!

Mysteries Of The Deep Podcast, Chapter XXXVIII. Blue Inferno by Radere. Cover photo courtesy of Candace Price. Tracklist: 1. Environments, “Wood Masted Sailboat” 2. Environments, “Ultimate Heartbeat” 3. Robert Curgenven, “Turner’s Tempest” 4. Jana Winderen, “Scuttling Around In The Shadows” 5. Floris Vanhoof, “De Karekiet Van Karakas” 6. Fennesz, “City Of Light” 7. Derek Rogers, “Apparent Weight” 8. Oren Ambarchi, “Quixotism Part 1” 9. Valerio Tricoli, “In The Eye Of The Cyclone” 10. Andrea Belfi, “Su Linee Rette” 11. William Fowler Collins, “I Heard Only The Eternal Storm” 12. Lawrence English, “Antarctica” 13. Rainforest Spiritual Enslavement, “In Honduras Death Caused By Being Chased By Spirits” 14. Marble Sky, “A Shining Juniper” 15. Bo Anders Persson, “Piece II” 16. Bee Mask, “Vaporware” 17. Oake, “Wuhleor Niir Peffgeeng Pfudenn” 18. Pharmakon, “Intent Or Instinct” 19. John Chantler, “November Part I” 20. Mika Vainio, “Weight” 21. Yellow Swans, “New Life” 22. Solitudes, “Heavy Surf On Rocky Point Along A Sand Spit” 23. Environments, “Ultimate Heartbeat” 24. Stephen Vitiello + Taylor Deupree, “From The Main Studio" https://soundcloud.com/radere http://candaceprice.com

Fyra framstående ljudkonstnärer - Åsa Stjerna, Jana Winderen, Christina Kubisch och Carl Michael von Hausswolff - öppnar våra öron för tillvaron i sommarens gotländska konsthändelse Gute Ljaudkarte Det är Visby Internationella Tonsättarcentrum som bjudit in fyra av vår tids ledande ljudkonstnärer att sommartid ljudsätta tillvaron på Gotland. Detta sker på fyra platser: vid Helgumannens fiskeläge på Fårö, i en lång, lång tunnel i en slagghög på ön Furillen, i den vackra botaniska trädgården i Visby och i den lika vackra trädgården och konsthallen vid Körsbärsgården i Sundre. I dokumentären möter vi konstnärerna och deras verk, och bland besökarna en amerikansk ljudprofessor och en musikalisk trädgårdsmästare. Som med lyssnaren funderar över vad ljuden och frånvaro av ljud berättar för oss om tillvaron och om oss själva. Gute Ljaudkarte 2015 pågår t o m nystartade Gotland Art Week vecka 34. En P2 dokumentär av Eva Sjöstrand

Jana Winderen is a sound artist working mainly in water environments (rivers, seas, oceans). The sound recorded from these living elements raises issues about what it reveals on nature. The artist questions where the sounds come from, notably in wild places that are not readily accessible, recording mostly unknown (unheard, unperceivable) sounds. The artist's process is based on biological information that she transforms into a composition, proposing a listening experience of sounds extracted from nature.

View on our site: http://bit.ly/1HAdE2w There was a sense of escape in those spaces, and I still try to visit every few years when my schedule permits. Now, I’ll take my headphones and provide my own soundtrack to the experience; but as a boy, the dull echoes of families exploring the descending walkway that took you through the Atlantic Coral Reef and Shark Alley displays created a peculiar tension which I found intoxicating. This mix was recorded using a stack of vinyl, a pair of Technics turntables, an Allen & Heath mixer, a Strymon El Capiston dTape Echo and a Moogerfooger MF-105M. I hope you enjoy it. Environments Š—“Caribbean LagoonŠ— J’_rgen M’_ller Š—“Jenseits Des Stromes (Beyond The Tide)Š— Jana Winderen Š—“Scuttling Around In The ShallowsŠ— Alvin Curran Š—“Under The Fig TreeŠ— Tomoko Sauvage Š—“Amniotic Life (2)Š— Duane Pitre Š—“Section IIŠ— Gareth Hardwick Š—“Sunday AfternoonŠ— Mike Shiflet Š—“(Sufferers)Š— Conoco Š—“VentolaŠ— Model 500 Š—“Starlight (Intrusion Dub)Š— Porter Ricks Š—“Biokinetics 2Š— Vladislav Delay Quartet Š—“Minus Degrees Pete Swanson Š—“Remote ViewŠ— Grouper Š—“Sleep (Fragment)Š

Seconde partie du spécial Akousma Rene Hell - Mark Fell - Jana Winderen - Seth Nehil - Sylvain Pohu - Robert Normandeau - Paul Lansky Shockabily Watatattow Chronique "Le Navet"

Fiona Talkington meets Jana Winderen for a noisy lunch break during a sound check at the Punkt festival in the seaside port of Kristiansand, Norway.

>>>>>>>>>>>>>>>>>>>>>>Let's listen to some rad female composers who do crazy things with sheet metal, accordion, and their voices. This is going to be fun, I promise. >>>> FEMINIST SOUND ART Yoko Ono, Laurie Anderson, Pauline Oliveros, Hildegard Westerkamp, Louise Lawler, Kristin Oppenheim, Gertrude Stein, Meredith Monk, Maryanne Amacher, Jana Winderen.  

TBA21 Sound Space. Spatial Music | Symposium 12/2/2012 at the ZKM_Lecture Hall The TB-A21 Spatial Music Symposium will focus on new spatial audio composition and technologies, based around the “TBA21 Sound Space” installation. The event will bring together researchers in surround sound technologies, composers and sound artists, to present and discuss the new potentials of contemporary spatial sound and music. The Spatial Music Symposium will culminate in a concert programme featuring a new work by Jana Winderen, winner of the 2011 ARS Electronica Golden Nica for Digital Musics, live performances and two world premieres of new spatial sound works commissioned for the unique TBA21 Sound Space by pioneer of electronic music Peter Zinovieff, and Istanbul based conceptual artist and musician Cevdet Erek. TBA21 Sound Space The TBA21 Sound Space is a project commissioned by Thyssen-Bornemisza Art Contemporary to bring to a larger audience the unique series of spatial compositions that were produced for The Morning Line. Saturated with over fifty speakers, The TBA21 SoundSpace uses a unique interactive multi-spatial sound system, conceived by Tony Myatt, Professor of Sound at the University of Surrey, UK. The novel spatialization software, which suggested a new form of music written especially for The Morning Line, has now been extended to be reproduced in the TBA21 Sound Space, the first of which has been developed in the context of Peter Weibel’s landmark exhibition Sound Art. Sound as a Medium of Art at ZKM Karlsruhe. To celebrate the evolution of the medium, TBA21 has put on loan its sound archive of nearly 30 experimental sound compositions, which were commissioned over the last 4 years from an international group of composers, whose work lies beyond the boundaries and the programming of traditional concert halls. The existing archive of music and soundscapes have been reconfigured through a specially written software by Tony Myatt and his team to recreate the Sound Space multispatial audio installation. This has multiple surround sound fields, some adjacent to each other and some nested inside each other in layers and provides an experiential three-dimensional sound reproduction system, within a larger scale spatial sound environment.

TBA21 Sound Space. Spatial Music | Symposium 12/2/2012 at the ZKM_Lecture Hall Panel of experts with presentations and concluding panel discussion. Participants: Prof. Tony Myatt (Chairman), Dr. Peter Zinovieff, Dr. Cevdet Erek, Dr. Paul Modler The TB-A21 Spatial Music Symposium will focus on new spatial audio composition and technologies, based around the “TBA21 Sound Space” installation. The event will bring together researchers in surround sound technologies, composers and sound artists, to present and discuss the new potentials of contemporary spatial sound and music. The Spatial Music Symposium will culminate in a concert programme featuring a new work by Jana Winderen, winner of the 2011 ARS Electronica Golden Nica for Digital Musics, live performances and two world premieres of new spatial sound works commissioned for the unique TBA21 Sound Space by pioneer of electronic music Peter Zinovieff, and Istanbul based conceptual artist and musician Cevdet Erek. TBA21 Sound Space The TBA21 Sound Space is a project commissioned by Thyssen-Bornemisza Art Contemporary to bring to a larger audience the unique series of spatial compositions that were produced for The Morning Line. Saturated with over fifty speakers, The TBA21 SoundSpace uses a unique interactive multi-spatial sound system, conceived by Tony Myatt, Professor of Sound at the University of Surrey, UK. The novel spatialization software, which suggested a new form of music written especially for The Morning Line, has now been extended to be reproduced in the TBA21 Sound Space, the first of which has been developed in the context of Peter Weibel’s landmark exhibition Sound Art. Sound as a Medium of Art at ZKM Karlsruhe. To celebrate the evolution of the medium, TBA21 has put on loan its sound archive of nearly 30 experimental sound compositions, which were commissioned over the last 4 years from an international group of composers, whose work lies beyond the boundaries and the programming of traditional concert halls. The existing archive of music and soundscapes have been reconfigured through a specially written software by Tony Myatt and his team to recreate the Sound Space multispatial audio installation. This has multiple surround sound fields, some adjacent to each other and some nested inside each other in layers and provides an experiential three-dimensional sound reproduction system, within a larger scale spatial sound environment.

  Rare Frequency Podcast 44: Cued 1 Frank Bretschneider, "Untitled 2 and 23" EXP (Raster-Noton) CD/DVD 2010 Time: 00:00-3:26 2 @c, "76.7" Music for Empty Spaces (Baskaru) CD 2010 Time: 3:26-12:52 3 Stephan Mathieu, "Maison" Maison (Anne Laplantine) mp3 Time: 12:50-17:26 4 Robert Turman and Aaron Dilloway, "Blizzard 3" Blizzard (Hanson) CD 2009 Time: 18:45-34:02 5 Emeralds, "Diatima" Emeralds (Hanson) CD 2010 Time: 34:00-40:39 6 The Haters, "Explosions 3" In the Shade of Fire (Hanson) CD 2010 Time: 40:39-45:45 7 Jana Winderen, "Isolation/Measurement" Energy Field (Touch) CD 2010 Time: 46:32-58:46 8 Fenn O’Berg, "Part I" In Stereo (Editions Mego) CD 2010 Time: 58:44-65:30 9 Goodiepal, "Chupa Chups" Mort Aux Vaches (Staalplaat) CD 2005 Time: 66:36-71:29

This concert was part of Todaysart, Den Haag, Netherlands on 27.09.09. Also appearing as part of the Touch events were Hildur Gudnadottir, Philip Jeck, Jana Winderen and The Eternal Chord. It was recorded straight from the mixing desk to an Ares Pll Nagra digital recorder. Born in Tromso (Norway), Geir Jenssen is better known as Biosphere, a key figure in contemporary Norwegian music. In 1992, Jenssen shot to fame with his Biosphere-debut album "Microgravity", becoming one of the pioneering ambient artists from the 90's. He was one of the first to come up with the mix of soundscapes, voice samples and atmospheric noise with trancey melodies and solid beats. Biosphere gave an intimate performance in the Lutherse Kerk, a very small church.

This piece is solely based on Hydrophone recordings, made by Jana Winderen in Berlin, Mjsa, Halifax (Canada) and Oslo. With thanks to Doug Quin, samples of whose work also were used in this piece. [Recorded in Stockholm by BJNilsen on the 13th anniversary of the founding of Ash International. Also performing that night were Alvars Orkester, Elgaland-Vargaland, BJNilsen and OCSID.] Jana Winderen is an artist, curator and producer who lives and works in Oslo, Norway. She is a member of freq_out.