Jasmine Guffond is an artist and composer working at the interface of social, political and technical infrastructures. Her practice spans live performance, recording, sound installation and custom made browser add-on. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions and engages listening as a situated knowledge practice.
Interested in providing an audible presence for phenomena that lies beyond human perception, via the sonification of facial recognition algorithms, global networks, or Internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.
In 2021 Dr. Jasmine Guffond completed her PhD at the University of New South Wales Art, Design & Architecture department, where she conducted research into sound as a method of investigation into online surveillance cultures. She teaches casually at the Sound Studies and Sonic Arts masters program at the UdK in Berlin.
She works in Buenos Aires as a curator, radio and sound artist. Her research is based on the notions of noise and rhythm as relative concepts that shape perception, communication and subjectivation. She is interested in cooperations and in opening spaces of encounter through sound and listening. Her work has been commissioned by the Centro Cultural Kirchner, the Cultural San Martín [AR], Medialab Prado [ES], Tsonami [CL], Aural Festival [MX], Kunst Radio [AT] and Mayhem [DK], among others. Florencia completed her studies in Expanded Music at UNSAM and completed the Artists Program at the Torcuato Di Tella University, and since 2017 she has been directing CASo – Centro de Arte Sonoro, a program of the National Ministry of Culture, within which Radio CASo operates.
Is an artist working in the fields of installation, electronic arts/new media and drawing. Her works explore the sensory and conceptual relationships between the individual and its physical surroundings. By focusing on processes of perception, on technologies and strategies applied in spatial and mental navigation and the production of knowledge, she investigates the limits of human perception and our capacity to comprehend and interpret our environment. How do you move in the world, and how does that feel? How does your body relate to other bodies and to its surroundings, and how can you define the coordinates of our own position? In response to these fundamental questions, she develops in her works diverse points of view that play with the opposition between metaphorical distance and physical immediacy. Alongside her studio practice she is frequently involved in collaborative projects and research projects in other fields such as dance, music, film and science.
Fernanda Olivares is a Selk’nam woman, member of the Selk’nam Community Covadonga Ona in Chile. Nowadays she is (CEO) at Fundación Hach Saye, organization with headquarters in Porvenir, Tierra del Fuego, with the main focus area is to promote, strengthen and protect both Selk’nam culture and the Great Island of Tierra del Fuego.
is an artist and sound researcher based in Amsterdam, NL. His work researches the interdependencies between sound, place and listening, aspects of which are explored through installations, writing, and the development of pressure-forming and vibration-sensing technologies. His installations examine context-dependent sites of contemporary listening relating to environmental infrasound (Long-Wave Synthesis, Dark Ecology, Kirkeness, NO and Sonic Acts, Amsterdam, NL), mineral piezoelectricity (Quartz Attention, Hyperobjects, Ballroom Marfa, Texas, USA), anechoic chambers (Padded Sounds, Max Planck Institute for the History of Science, Berlin, DE) and materiality of radio transmission (Radio Plays Itself, Forecast for Shipping and Knallfunken) in collaboration with ORF Kunstradio, AT, BBC Radio 4, UK, and Deutschlandfunk Kultur respectively, DE. Recent installations develop in-situ circuits relating to human-mineral binds (Agora Circuit, Tuned City / Onassis Cultural Foundation, Messene, GR) and telluric currents (Westhafen Ground-Electric, Singuhr at ZK/U Berlin, DE). Raviv Ganchrow is currently a faculty member at the Institute of Sonology, University of the Arts, The Hague, NL.
Archaeologist, professor at Universidad de Magallanes (UMAG), Professor of Philosophy at the UdeC, MSc. in Archeology at the University of Cambridge, Diploma in Advanced Studies in Prehistoric Archeology at the Universidad Autónoma de Barcelona, PhD in prehistoric archeology at the Universidad de Barcelona and Visiting Professor at Harvard University. He has focused his research work in the field of prehistoric archeology and the Fuego-Patagónica ethnography. He currently works at the Centro de Investigación GAIA Antártica (UMAG)
works as independent curator, producer, communication designer and artist on the intersection of artistic production and mediation. He studied communications and postgraduate interdisciplinary studies in Berlin and is initiator of diverse festivals, formats and initiatives within the context of new media, art + science and sound art. Carsten Stabenow is initiator and artistic director of Tuned City and co-founder of the Berlin art and media production platform dock. As an artist he has realised several installations and performed internationally. In his work he is interested especially in physical, social and political parameters of space.
architect and artist, working, researching and experimenting with territories under the esthetic of dark ecologies. Currently, its production revolves around the collision points between biological and electromagnetic corridors, and the liminal sites in the large lax, discontinuous, heterogeneous and multipolar areas of the extractivism macro-regions. His sound research includes listening as an active and political action, a technology and, in many cases, an extension of the ecological battlefield. His work has been presented at different festivals, spaces and galleries in Argentina, Colombia, Chile, Brasil and France.
His work exposes the unheard and unseen—addressing the inaccessible and experiencing vulnerability and awareness—to the viewer. Perception and altered states are key concepts in his performances through the use of sound or light. His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions, and collaborative works through seminars to form a communal dialog.
is a sound artist with an academic background as a forestry engineer (Master’s degree, University of Chile) and multimedia art (Master’s degree, University of Chile).
His work focuses on ways of understanding nature in all the depth and complexity. His installations mix the massiveness of its components (rocks, metals, gravity, wind, etc.) with the fragility and immateriality of sound.
Spencer’s artistic practice is contaminating (and contaminated by) other areas of knowledge as a way of generating alternative epistemological and aesthetic perspectives.