You

The first in Christof Migone's series of twelve annual 12-hour events taking place on 12th December from 5pm to 5am the next day. Each year the event moves through each word of the phrase 'You and I Are Water Earth Fire Air of Life and Death' and a group of international artists activate the word of the year in myriad ways. Streamed live on YouTube.

The series started in 2020 with You. It always starts with You. Participants were invited to programme one hour with ‘you' as the sole prompt. The result could be a mix of live and recorded (or entirely one or the other). There could be a visual element throughout, or partial, or none at all. An open structure welcoming coherent incoherence (or, incoherent coherence). A radio-but-not-really-radio event where you and you and you share the same nonplace.

Hour 1: Christof Migone, featuring Xuan Ye.
Hour 2: UTSC Dept. ACM presents The Scarborough Sound with Tiffany Schofield, Erika DeFreitas, Christopher Dela Cruz, Marla Hlady, Eric Slyfield.
Hour 3: Steve Bates (Saskatoon).
Hour 4: Wave Farm presents Jen Kutler, Sadie Woods.
Hour 5: Wave Farm presents Agustina Woodgate, Jeff Kolar.
Hour 6: Béchard Hudon (Montréal).
Hour 7. University of Saskatchewan Art Galleries and Squint Press presents the launch of Vivian Darroch-Lozowski’s book Voice of Hearing with the author, jake moore, Daniela Cascella, Christof Migone, Ann West.
Hour 8: Resonance Extra presents Merlin Nova, Andrew Ford, Anastasia Freygang.
Hour 9: Resonance Extra presents Erik Lintunen, Milo Thesiger-Meacham
Hour 10: Anna Friz (Santa Cruz) with Amy Mihyang Ginther, Cynthia Ling Lee, Gabriel Saloman.
Hour 11: Animals of Distinction (Montréal) PRESENTS Dana Gingras, Tot Onyx, Sonya Stefan.
Hour 12: Glenfiddich Distillery presents Swan Song by Marla Hlady & Christof Migone.

Part of the works were produced during the Glenfiddich Residency, Summer 2019. Other works include: Sampler and Swan Song.

Thanks to: Jennifer Martin (graphic design), Milo Thesiger-Meacham and James Dunn (Resonance), Galen Joseph-Hunter (Wave Farm), Andy Fairgrieve (Glenfiddich).

Campo Blanco By Ariel Guzik Glantz

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Campo Blanco by Ariel Guzik. These recordings originate from a family of string instruments designed to explore various types of chaotic signals, considered as possible sources of sonic languages. The first of these instruments, the Plasmaht Mirror, comprising strings, wood and electromagnetic resonators, operates primarily using signals derived from living plants. Ariel has called the resulting progressive cascade of harmonic sounds a "harmonic field." Also featured here, the Harmonic Quartz Windows, were designed to elevate these experiments to a level of purity achievable by using fused quartz crystal membranes – rather than wood – as harmonic resonators. The signals employed here originate from thermal noise emitted by silicon crystals. This special edition of these works includes essays written by Ariel Guzik, voiced by Juan Stack, originally recorded for Radio UNAM, and curated for this broadcast by Ana Martínez de Buen.
Recording and sound production – Alejandro Colinas y Emilio Gálvez y Fuentes; instruments design – Ariel Guzik; editorial design and production – María Eugenia Calva; translation – Teresa Carter; photography – Raúl Gonzáles, Gabriel Figueroa, Izzy Seidman; drawings – Ariel Guzik; production – Catalina Juárez Oechler; voice – Juan Stack.

Crickets, Atoms, Voice, Ghosts, Lichen By Martha Riva Palacio Obón

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Crickets, Atoms, Voice, Ghosts, Lichen by Martha Riva Palacio Obón. "Sound is a fluid body filling us with our own shape. We are resonance chambers, part of a complex web of affections. In the song of a cricket all the nights of my childhood at my grandmother's house are cyphered, as are the echoes of every organism that has and will inhabit the Earth. This piece is an exercise in re-writing, in recomposition, where I establish new connections, conversations, between some of my sonic essays: from the voice of my maternal grandmother, to my body as a lichen, passing through my interpretation of the No. 8 watercolour in the Athoms series of Hilma af Klint.” Martha Riva Palacio Obón.

Plexos By Otto Cázares

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Plexos de sentido (Plexuses of Meaning). 214 questions about writing. First audible and performative session of the node, "Líneas de Fuga de la Escritura: Metáforas de trabajo, Indisciplinas y Plexos de sentido" (Fugue Lines of Writing: Work Metaphors, Indisciplines and Plexuses of Meaning) by Sara Gómez and Otto Cázares in the Centro Nacional de las Artes (Mex), 2025. Script: Sara Gómez and Otto Cázares. Sound design, editing and production: Otto Cázares. Voices: Sara Gómez and Otto Cázares 2025.

Cordiox By Ariel Guzik

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Cordiox is a sonorous instrument made from fused quartz glass, taut strings and wood. It explores the reorganisation of signals from chaotic or entropic, thermal and electromagnetic sources using the principles of harmonic resonance. It is a large-scale mechanism that is proposed as an essay on the reversibility of chaos. Recorded at the church of San Lorenzo, 55th Venice Biennale, June 2013.
Instrument design - Ariel Guzik; curatorial project - Itala Schmelz; sound production and sound engineering - Alejandro Colinas y Emilio Gálvez y Fuentes; executive producers - Catalina Juárez Oechler; texts - Karla Jasso and Ariel Guzik; translation - Teresa Carter; technical and electronic production - Leobardo Ramírez; graphic and editorial design - Maru Calva; photographs- Emanuele Basso, Marcela Chao, Laboratorio de Investigación en Resonancia y Expresión de la Naturaleza.

Ana Martínez De Buen In Conversation With Cinthya García Leyva

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Cinthya García Leyva is a cultural manager and facilitator for creative processes, particularly those around sound. In this interview conducted by Ana Martínez de Buen, they hold an essayistic conversation around the ways noise, sound, scape and voice transcend the idea of the 'present moment', that seems to reign in the act of listening. Cinthya retakes the concept of ‘constellations’ to exercise an expanded metaphor around what it means to hold and manage artistic spaces – she is the General and Artistic Director of Casa del Lago UNAM, the Artistic Director of Poesía en Voz Alta Festival, and a guest editor and author of the prologue to La materia del sonido (Gris Tormenta). Ana is a writer and an artist who has been working with radio essays for nearly a decade. For both voices in this piece, sound and writing are intrinsically defined by the body, as well as by each other – translation between mediums, languages and disciplines opens a terrain of possibilities and corpo-realities.

Ópera Æsopus, Acto 1 (Æsopus Opera, Act 1) By Otto Cázares

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Ópera Æsopus is a radio opera whose libretto consists of a collection of fables, counter-fables, tales and wise reflections recounted by fictional sages and scholars, recorded in books, poems and prayers that do not exist. The method of composing the libretto was detemined by a machine made of cardboard (the Arca OperÆsópica) to generate thematic groupings and configurations. The performance is carried out by friends and collaborators, none of whom are professional performers. Act 1 consists of ten scenes: The Call, The Apprenticeship, Exercises to Stay Incandescent, Blindness, Exhaustion, Confirmation, The Shipwreck, The Hero, The Adversaries, The Battlefield. 
Libretto: Otto Cázares. Sound design, editing and production: Óscar Peralta. Music: Erika Mues Döring, Enrique Arriaga Celis, Otto Cázares. Guest voices: Blanca Guerra, Edison Quintana, Renzo D’Alessandro, Daniel Toca, Angélica Fernández, Gustavo Cázares, Eusebio Bañuelos, Sara Gómez, María Fernanda Rivadeneyra, Antonio Arámburu, Ilán Lieberman, Jessica Wozny, Luciana Corres, Marcela Aguilera, Armando Deverdún, Galo Cázares, Lisi Escobar, Ricardo García-Arteaga, Avelina Correa, Marcelo Schuster, José Manuel Springer, Estela P. Molatore.

Earthling Blues By Santi Marín

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Earthling Blues is a selection of unreleased works from by Santi Marin, from the last ten years. "The radio – both as a concept and a tool – is very important in my life and work since I wish to accommodate many different types of sounds, forms and textures into one continuous stream. Earthling Blues is a melancholic celebration of the urban and natural environments of our planet and the impressions they leave on my heart and mind."

Antología De Programas By Otto Cázares

 Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Antología de Programas  is a diverse selection of radio productions for different projects:
Curiosidad Póstuma. From the series Caprichos Radiofónicos: Analogías, Correspondencias y Similitudes (Radio Whims: Analogies, Correspondences, Similarities’). Script, production and voice: Otto Cázares. Broadcast by Opus 94 (Mex) 2024.
Bombas de tiempo artísticas. From the series Conspiraciones: Bitácora de un admirador de Balzac (Conspiracies: Logbook of an admirer of Balzac). Script and voice: Otto Cázares. Production: Francisco Ángeles. Broadcast by Radio UNAM (Mex) 2014.
Crescendo absoluto. From the series Cuaderno de los Espíritus y de las Pinturas (Notebook of Spirits and Paintings). Script and voice: Otto Cázares. Production: Iván Primitivo González. Broadcast by Radio UNAM (Mex) 2012.
Campanas, campanas, campanas. From the series  Caprichos Radiofónicos: Analogías, Semejanzas y Correspondencias (Radio Whims: Analogies, Similarities, and Correspondences’). Script, production and voice: Otto Cázares. Broadcasted by Opus 94 (Mex) 2025.
Viaje interestelar. From the series Conspiraciones: Bitácora de un admirador de Balzac (Conspiracies: Logbook of an admirer of Balzac). Script and voice: Otto Cázares. Voice of the taxi driver: Juan Mejía. Production: Francisco Ángeles. Broadcast by Radio UNAM (Mex) 2014.
Dar peso a mi propio corazón. From the series Conspiraciones: Bitácora de un admirador de Balzac (Conspiracies: Logbook of an admirer of Balzac). Script and voice: Otto Cázares. Guest voices: Juan Mejía, José Manuel Springer, Ada Santibañez. Production: Francisco Ángeles. Broadcast by Radio UNAM (Mex) 2014.

Acts Of Listening: Restoring Time’S Murmur By Erika Arroyo Guerrero

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Acts of Listening: Restoring Time’s Murmur. Memory is a reconstruction traversed by fissures, deviations and fabrications. To remember is always to piece together a puzzle of disparate elements, a dialogue between imagination and trace. This sonic exercise explores tenuity, the weight of presence and absence, erasures and rewritings, that which persists in the material support of the recording. In inherited and/or found archives, the voice that might bring us closer to the lived experience is almost never present. Faced with that void, listening with support and beyond it opens the door to possibility. The intention is to activate plasticity, to open the senses and dispose, all of them, to another kind of listening. It is an effort to dig out the family album or the box where shared memories lie, to let their fragile materiality speak, making audible the very process of remembering as a living, shifting representation.

Ballena Gris By Ariel Guzik Glantz

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation.
Ballena Gris/Grey Whale is a collection of ten sonorous experiments created in the Laboratorio de Investigación en Resonancia y Expresión de la Naturaleza (Laboratory of Research for Resonance and Nature’s Expression). Other than the tenor sax in the fourth track, no traditional instrument, sound processor or synthesiser were used in the making of this piece – all the recordings of soundscape (birds, cetaceans, echoes and atmospheric sounds) are original, some made underwater, others inside the laboratory's vaults, and others made under the sea in the middle of the bay through submarine microphones. Recorded at Magdalena Bay 2002 and at San Ignacio 2003, Baja California, México. 
Credits: Instrument design, experiments, sax, drawings and texts - Ariel Guzik. Sound, mixing and editing - Emilio Gálvez y Fuentes; recording - Alejandro Colinas; executive producer and precursor for the expedition - Alejandra Frausto; technical and electronic production - Leobardo Ramírez; photography - Gabriel Figueroa and Raúl González; submarine filming - Peter Schalkwijk; film and microphotography on land - Raúl González; design - Alejandro Magallanes; master - Kurt Upper; field logistics - Alejandra Frausto, Tim Means, Emilio Gálvez and Fuentes, Leobardo Ramírez and Peter Schalkwijk; building the acoustic submarine transmitter - Peter Schalkwijk; translation - Adriana Díaz Enciso; production assistance - Ibeth Castañeda, Carmen Terán; Recording and post-production by Laboratorio Plasmaht and La Legión V.

Audible Heat

Milo Thesiger-Meacham’s Audible Heat is an extended documentary, a fitful academic essay, a mass-media probe, an idiosyncratic piece of travel writing, a densely illustrated sound-art montage, and a deep dive into man’s complex relations with the seemingly eternal sound of the cicada as ‘audible heat’ in human consciousness.

Featuring original music and field recordings, and spoken contributions by writer and translator Cristina Viti and filmmaker Ahmed Yassin Aldaradji, Audible Heat ranges across continents, embracing Greek tongue twisters, the poetry of Ibn Quzmān and Harry Crosby, African-American mathematician Benjamin Banneker’s lost wooden clock, Plato’s Phaedrus, cicadas on the film sets of Sergio Leone’s ‘Spaghetti Westerns,’ the body language of Clint Eastwood, the apocalyptic premonitions of the Wampanoag, Geronimo’s hatred of telegraphy, and botanist Donald C. Peattie’s terror of the inescapable buzz of mortality.

Equal parts academic argument, travelogue, and critical collage, this synthesis of ideas pulls upon a wide-ranging bibliography of materials to examine the omnipresent sound of the cicada throughout human history and culture. Herein, this climatic sound acts as a conduit between ecology, identity and mortality, and the cicada’s sonic inference emerges as a codification of the unknown and unfamiliar—as a spiritual weathervane in desert settings—and as a means of teasing out the sensorial limits of human understanding.

Audible Heat was written, read, recorded, produced & scored by Milo Thesiger-Meacham. It was first commissioned and broadcast as a work for radio by Radiophrenia, September 2023.

As a manuscript Audible Heat was shortlisted for the inaugural edition of the Prototype Prize, 2024, and was published as a book by Tenement Press, February 2025. Its radiophonic counterpart will be released on CD by World Service, March 2025.

Harmonic Solo By The Self

Evolving melodic phrases and harmonic rich passages, played on a homemade harmonic guitar, built and performed by Connor Haynes (The Self) exploring microtonality, drone and prepared techniques.

Once Upon A Day On Papay

Once Upon a Day on Papay by Martin P. Eccles. An island beyond the north coast of Scotland, the north-west of the Orkney archipelago. Three times I walk the island edge: stones, rocks, waves, sand beaches. Knock, sing and sigh to the backdrop of a day on the marsh by the loch. Twenty-four hours, once upon a day on Papay.