Fu(n)ga is an immersive spatial and sonic experiment that explores the relationship between fungal growth, engineered and controlled environments, and sound. It reveals the creation of space as metabolic growth, stimulated, mediated and supported by temperature, humidity, air, and sound. The bio-sonic listening sessions are curated listening performances that invite the audience to tune in to the polyphonic and multitemporal sonic environment created by Fu(n)ga.
It may quack like a duck, but it is not a duck; it is a glacier. The astounding “a kind of a person” is just one example of how strange and alluring the sounds of glaciers can be. Once the hydrophones are dipped into water, one may hear babbling babies, abstract synthesizers and all manner of sonic wonders. Crying Glacier is Ludwig Berger‘s tribute to the vanishing geophony of the Vadret da Morteratsch (Morteratsch Glacier). The new work serves as a companion piece to a documentary film directed by Lutz Stautner.
Nele Möller: personal memory, ecological awareness and sound practices to listen to and narrate the transformations of the Thuringian Forest in Germany. Her project “The Forest Echoes Back” explores the effects of climate change and industrialization in the area. Her approach involves listening with trees, insects, hunters, foresters, activists and communities, through the creation of shared spaces such as workshops, soundwalks and installations.
In this new episode, we meet sound artist and educator Ludwig Berger, who has been recording the melting sounds of glaciers for over a decade. Through his project Melting Landscape, Berger invites us to listen to Nature’s hidden voices, the vibrations, whispers, and rhythms that reveal the fragility of our planet.
Australian artist and composer, Mangan develops her practice through attentive field-based experimentation, where research, sound, and performance intersect. From these processes, customized instruments emerge, shaped by interactions with ecosystems and the environments she explores. Listening to the “symphonies” of frogs across different habitats reveals subtle acoustic variations, highlighting complex forms of non-human communication and encouraging a shift away from anthropocentric perspectives. Her practice, guided by ethics and collaboration, emphasizes responsibility and care in engaging with nature. Alongside immersive experiences, her work extends into education, artistic activism, and research, inspiring communities and young artists to cultivate a mindful relationship between sound, art, and ecology.
Based in Ljubljana, intermedia artist Dorotea Dolinšek works at the intersection of art, science, and technology, exploring the conditions of life in radical environments such as outer space. Her research employs biotechnology, sensory performance, and speculative practices to question the relationships between the human body, non-human organisms, and extreme ecosystems. Through metaphors such as breath, cooperation, and biological dependency, her work reflects on contemporary ecological crises and the profound shifts in how we inhabit the planet. In this interview, Dolinšek discusses art as a space of experience, vulnerability, and negotiation, inviting audiences to reconsider life, on Earth and beyond, as a network of interdependence.
Slovenian artist and researcher Robertina Šebjanič works across art, sound, and science, exploring the fluid thresholds of hydro-ecology. Her practice unfolds through attentive listening to aquatic environments – seas, rivers, and lakes – making perceptible the complex relationships between ecosystems, technologies, and human presence. Using hydrophones and underwater recording practices, Šebjanič reveals often-invisible sonic worlds, highlighting how anthropogenic noise, industrial activity, and geopolitical conflicts deeply affect marine life.”
