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Sound, Contemporary Art & Critique

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Giulia Zompa looks back at Mara Palena's solo exhibition "Drink the Rose, Spit the Dream", hosted at the SUNNEI flagship Store–Café–Gallery. Read the full review via the 🔗 in our bio

#highpitchmagazine @marapalena @giulia_zompa @martacereda @sunnei @2050.plus by @highpitchmag

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8 months ago

Sounding the Maltese Archipelago Frequencies

Melanie Garland explores the Maltese archipelago as a sonic archive where colonial histories, marine infrastructures, and multispecies life collide. In her sonic essay, she combines archival underwater recordings from the marine biologists’ EcoMarine Malta and her own field recordings from Malta’s port and its underwater sound. Listen before you read at highpitchmagazine.com

@melaniegarland is an interdisciplinary artist, researcher, and lecturer based in Berlin. She holds a PhD in multimodal anthropology and reflexive European ethnology from Humboldt Universität zu Berlin.

Photo: Sailing with EcoMarine Malta in the Mediterranean. Patrizia Patti photographs Maltese dolphins while Melanie Garland listens to their sounds using a hydrophone. April 2025. Photo by Giovanni Da Lazzari/EcoMarine Malta. by @highpitchmag

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8 months ago

Treeling Arbolito
A score by Ximena Alarcón

"In the place where you live
Greet a listening tree

walk with slow steps
surrounding it and making one circle
in silence, listening around the tree"

For Issue 02, @elena_biserna has selected a score to respond to the theme of sound & ecology. “Treeling Arbolito” is part of a trilogy of listening rituals in sonic migrations created by sound artist and researcher Ximena Alarcón-Díaz @ximesonic. The score invites us to position ourselves between different accents and linguistic interpretations while expanding our sense of presence as we engage in listening and sound-making. by @highpitchmag

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8 months ago

C2C Festival just dropped its first 25th anniversary lineup. Early bird tickets go on sale starting Wednesday, February 4 at 12:00 PM, in limited quantities via DICE.FM.
@clubtoclub

Picture: C2C, 2025, LINGOTTO, STONE ISLAND STAGE, ©llum collettivo by @highpitchmag

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9 months ago

I Build My Language with Rocks: Islands Unearthing Lithoaurality by @pespiedra

“What happens when listening begins beneath hearing, in the thickness of vibration, where sound has not yet become sound?”

~pes introduces “lithoaurality,” a speculative mode of listening grounded in geological vibrations to explore how rocks and planetary processes can be approached as a language beyond human-centered hearing.

⟢⟢⟢ 🌐 Dive in at highpitchmagazine.com

~pes is a collaborative artistic research process between Bogotá-born and Berlin-based @elizabethgallondroste & @pablotorresgomez_

Videos: Ash Rain installation at @listeningbiennial 2025 // Excerpt from a live improvisation with geophonic and radiophonic frequencies and digital synthesizers, broadcast from Aeolos’ Cave in Stromboli as part of the Seismic Diaries live radio transmission, 2024. by @highpitchmag

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9 months ago

New Concepts in Acoustic Enrichment: An Interview with Machine Listening by Nele Möller

“JP: The big point I keep making about machine listening, especially as it’s used in bioacoustics, is that the scientists doing it are, frankly, politically naïve. They rarely engage with the political, legal, or economic implications of what they’re building. They call it passive acoustic monitoring, but once you automate analysis, then automate responses and interventions, you’re creating a monitoring system that inevitably becomes a control system.”

Nele Möller speaks with Joel Stern and James Parker about Machine Listening, acoustic enrichment, and the politics of AI-driven environmental sound. Read in full at highpitchmagazine.com — featuring excerpts from Environments 12.

LP available through @futura_resistenza @naturestriprecords_naarm @repressedrecords @ima_galleryshop

@machinelistening is a platform for collaborative research and artistic experimentation, established in 2020 by artist-researchers @sdockray, James Parker, and Joel Stern @sternjoel. @nele____moeller is an artist and PhD researcher at LUCA/KU Leuven. by @highpitchmag

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9 months ago

Turbid Listening by Kosmas Ðinh @kosmasdinh

“The ambition to render the ocean fully accessible, oftentimes driven by acoustic technologies, mirrors the same extractivist logic that drove Humboldt’s explorations as well as military surveillance projects: to dissect all other worlds into intelligible components and to hunt down and clarify all that remains murky. These data-hungry projects are entangled with a crucial operation to position the ocean as a new frontier for resource extraction: the installation of the idea of the seabed as a terra nullius.”

Ðinh reimagines listening through the conceptual framework of “turbidity”. Read in full at highpitchmagazine.com

Kosmas Ðinh (he/him) is an artist and researcher working with sonic and spatial methods, through anti-extractive frameworks and personal mythologies. by @highpitchmag

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9 months ago

Quarry of Sound by Bobby Jewell

“In her poem ‘The Earth Worm Also Sings,’ composer Pauline Oliveros talks about stone and our planet in a way that touches on the material’s deep ties to geological time, sound, and resonance, suggesting that rocks act as the earth’s memory, recording everything that has ever happened. For sound artists Simon James, Antonia Kattou, and AAU ANASTAS with Tomoko Sauvage, stone is a rich and meaningful conduit for wider work related to colonialism, climate emergency, and class prejudice.”

Read Bobby Jewell tracing how artists are listening to Earth at highpitchmagazine.com

Bobby Jewell is a sound artist and climate activist based in Glasgow, UK. His ambient show, Earth Tones, can be heard on Radio Alhara.

@bobbyjewelll @thesimonsound @kattouxo @aauanastas @tomokosauvage

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1. AAU ANASTAS, Stone Matters, photo: Mikaela Burstow, credits: AAU ANASTAS
2. Simon James, Neolithc Cannibals, photo: Phoebe Wingrove, credits: Simon James
3. 4. Liquid Hot Mess performance by Mystiki Fleva (ΜΦ), photo: Ioanna Economidou by @highpitchmag

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9 months ago

Aisles of Mimetica: Tracing the Role of Acoustic Mimicry Across Species and Systems by Amias Hanley

“An encounter with a moth is an encounter with deep time. First appearing in the fossil record over 300 million years ago, moths have witnessed falling seas, the folding of mountains, and the lithification of corals. Across eons, as the earth was reshaped by faulting and fire, stardust and snow, moths continued to evolve alongside nocturnal ecologies, pollinating pale blooms by moonlight and diversifying into more than 160,000 described species.”

In this piece, Hanley explores ultrasonic jamming as a form of resistance, showing how moths detect and respond to bats’ echolocation and how these acoustic exchanges echo across ecological and technological systems. Read in full at highpitchmagazine.com

Amias Hanley (they/them) is a London-based artist exploring how auditory cultures, communications, and listening practices emerge through technologies and ecologies, often drawing on queer ecology and transgender studies.

@amias_hanley

📸 @devika_bilimoria by @highpitchmag

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9 months ago

Listening as Narrative: Ramona Ponzini’s Environmental Storytelling by Lisa Andreani @kellyykelly___

“Ponzini’s practice can be read as a meditation on the afterlife of sound—its capacity to outlast its source, to travel across time and matter, to reappear as vibration or memory. Each recording is a trace that resists closure, a residual presence that continues to act. The daily reconfiguration of 夏, for instance, performs the very temporality of afterlife: a perpetual recomposition in which sounds from the past encounter the contingencies of the present. Similarly, the reversed voices of Promenade – Reverse make audible the persistence of history within the now—a sound that refuses to fade.”

Read Lisa Andreani reflections alongside Ramona Ponzini’s works at highpitchmagazine.com

Lisa Andreani is an independent curator and PhD researcher based in Rome.

@ramonaponzini @castellodirivoli

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1. Ramona Ponzini, 夏, 2025. Exhibition view. Courtesy MEGADUE. Photo Leonardo Morfini
2. Ramona Ponzini, Promenade – Reverse, 2023. Courtesy Castello di Castello di Rivoli – Museo d’Arte Contemporanea. Photo Giorgio Perottino
3. Ramona Ponzini, 夏, 2025. Exhibition view. Courtesy MEGADUE. Photo Leonardo Morfini
4. Ramona Ponzini, Promenade – Sound Scribbles, 2023. Courtesy Castello di Rivoli – Museo d’Arte Contemporanea. Photo Giorgio Perottino by @highpitchmag

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10 months ago

We Hum Together to Re-Member by Emily Sarsam @3am3ali

“I live next to a park filled with peacocks. In it, there’s a zoo. Derelict playgrounds. Gigantic trees with airborne roots that look like elephants. At one point, a road was built around the park to take pressure off inner-city traffic. From my room, the park sounds like it’s humming. Except at night, when I hear the peacocks and lions howl again. I always wondered what would happen if, one day, the animals lost their voices competing with the hum.” Note from Ylim Marsam’s diary. Undated.

Read Emily Sarsam’s fictional story at highpitchmagazine.com

Emily Sarsam is an artist and researcher based between Vienna and Tunis. by @highpitchmag

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10 months ago

Issue 02 Event Launch Poster design by @bureauprogressiv ✨ by @highpitchmag

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10 months ago