A 10-second recording recreates about 10 minutes of seismic sound and harmonic tremor from Alaska's Redoubt Volcano in 2009, sped up 60 times.

RedoubtScream

Dear Angela,

I collected some tiny pebbles from different sites in Iceland. 
Purple, green, and red ones from a coast in Miðfjörður. 
Black and grainy ones from Reynisfjara beach.

Since every pebble is unique, I had intended to gift each one to friends and family.
But somehow I lost every single one of them.

This year, instead of strolling around windy beaches,
I gathered some pebbles from your name.

This way, I will not lose any more pebbles.

I hope these pebbles find you well.

Warmth,

Angela's Pebbles

Dear Berglind,

Crocuses, snowdrops, daffodils, arctic thymes, dandelions, and lupines

Witnessing them slowly emerged and inhibited the land again after my first winter in Iceland was a miracle. 

For few months, I got to spent my time like flowers on a field, getting sunlight and nature until another winter came.

I picked these flowers out of your name. And I hope you can enjoy these almost-lasting flowers.

Warmth,

Berglind's Flowers

This audio paper offers an autoethnographic engagement with both glaciers and the ideas-of-glaciers through acts of listening by Snæfellsjökul fyrir forseta campaign members. The campaign relies upon artistic intervention as sociolegal innovation by nominating the glacier Snæfellsjökull for Iceland’s 2024 presidential race. A founding tenet of the collective’s working method is listening as a primary strategy to become-with glacier (að jökla). Through campaign members’ application of multimodal research approaches, the audio paper will conceptualise, describe, and demonstrate how listening forms an integral component of communicating with the more-than-human to speculate on possible future worldings. 

The paper goes beyond the concept of the »soundscape« as a wide and general metaphor (Ingold, 2007) seeking more meaningful and intimate relationships via sound, understood as a physical phenomenon of vibration, both audible and inaudible (Östersjö, et al., 2024). It questions the Western notion of music as a human (and) sonic practice, promoting listening as a creative act of becoming-with. The narrative and sonic structure of the audio paper is a building, layered unfolding – an ecomimicry of glacial becoming through flow, surge, thinning, thawing, recession, ablation, melt – where our prose outlines the palimpsest​​​​​​​ of Snæfellsjökull from its extent to its projected disappearance.  

Audio paper by Angela Snæfellsjökuls Rawlings, Santiago Rueda-García, Konstantine Vlasis, Daniela Amado, Adam Świtała, Rike Scheffler, Linnéa Ida-Maria Falck.

Part

Glacial withness: Listening at the edge of planetary boundaries

Mój list (Tango)
Muzyka do spektaklu "Pocałunek kobiety pająka", Teatr Studio, Warszawa

muzyka: Adam Świtała
tekst: Malina Sarnowska

wyk.
Marcin Maroszek - akordeon, 
Adam Świtała - gitara

realizacja nagrania, miks i mastering: Adam Świtała


"Pocałunek kobiety pająka", Teatr Studio, Warszawa

AUTOR 
Manuel Puig 
REŻYSERIA 
Rafał Dziemidok 
MUZYKA
Adam Świtała 
KOSTIUMY 
Petra Korink 
ŚWIATŁO 
Ewa Garniec 
ASYSTENTKA REŻYSERA
Aleksandra Majewska 
KIEROWNIK PRODUKCJI 
Aleksandra Wiśniewska 
INSPICJENTKA 
Beata Szaradowska 
OBSADA
Monika Obara 
Tomasz Nosinski 
Mirosław Zbrojewicz

Mój list (Tango)[Instrumental]

Sugar's Waste was written by Rebecca Bruton.  It was performed on October 12th and 13th, 2016 at Studio T - 149 West Hastings.  Unceded Coast Salish Territories.

Performed by Rebecca Bruton (Voice, Violin), Tegan Wahlgren (Voice, Violin), Elliot Vaughan (Voice, Viola), Clara Shandler (Voice, Cello), Dave Chokroun (Double Bass), Matthew Ariaratnam (Electric Guitar and Speaker Feedback), Ben Wylie (Piano) and Paul Paroczai (Live Digital Processing).  Tape loops hand-built by Alexandra Spence and Ben Wylie.

Recorded by Matthew Ariaratnam.

Spring Came Early

A. Piazzolla - Invierno Porteño
(arr. W. Błażejczyk)

Tor Inis (Duo)

Wojciech Błażejczyk - classical guitar (R)
Adam Świtała - classical guitar (L)

Recorded, mixed and mastered by Wojciech Błażejczyk and Adam Świtała, Warsaw 2002.

Tor Inis

Tor Inis - Invierno Porteño (A. Piazzolla)

A stereo render of the octochannel work "Heliocentrism" premiered in Bobst Library, New York 11/2019 curated by Michael J.  Schumacher and Muu gallery in Finland.

Heliocentrism stereo version

Part I. Let the trees lead (or, Seeds for a Planthroposcene)
Text and voice: Natasha Myers
Field recordings and composition: Ayelen Liberona and Natasha Myers
Editing and Production: Yuval Sagiv
Recording: Geoffrey Siskind

Part II: Becoming Sensor in Sentient Worlds (2016)
Field recordings and Composition: Ayelen Liberona & Natasha Myers

Part III: Sounding Out an Urban Oak Savannah (2017)
Field recordings: Allison Cameron, Ayelen Liberona & Natasha Myers
Composition: Allison Cameron

These field recordings were made in the Spring of 2016 at the eastern edges of High Park, Toronto’s 400-acre pleasure park, just where a major throughfare cuts through an ancient oak savannah. These lands are the sacred hunting and foraging lands of the Wendat, the Anishinaabe Nations and the Haudenosaunee Confederacy. For more information see Toronto’s Indigenous Land Stewardship Circle (http://indigenouslandstewardshipTO.ca). Becoming Sensor (http://becomingsensor.com) is a research-creation collaboration focused on the work of detuning settler stories about these lands, and tuning in to the sentience of the land and its many relations.

In Forest Intervals / Responding to the Forest's Call

Becoming Sensor for a Planthropocene pt. I-III. Natasha Myers, Ayelen Liberona & Allison Cameron

Part of a series of vocal improvisation that with deadly seriousness and humour, gives answers and statements from the depths concerning our time with climate chaos and human domination destroying Earth. 
Presented officially at the pop-up exhibition at Härnösands Art Hall and Fyren 24/10, by Hola Folkhöskolas sound art course 2019-2020.

Oraclepoetry

"Green Notes" is a poemoir by Mette Moestrup and a rawlings, created for the Oslo Internasjonale Poesifestival 2020. For the festival, we were commissioned to share new work composed during the pandemic. The result? Green notes. Softer. Looser.

Text, concept, vocals: Mette Moestrup & a rawlings
Video, editing: a rawlings
Sound mix/mastery: Adam Świtała

Green Notes

a rawlings is a plant, mineral, animal, person, place, or thing. Member of experimental music duos MOSS MOSS NOT MOSS (with Rebecca Bruton) and Völva (with Maja Jantar). Acoustic ecology, sound poetry, extended vocal technique, hidden folk, hockets, dissonant glissandos, and ribbing for her pleasure.