Lucy Valentine

My contribution to the sound diaries open call is to explore the sonic responses to my work as a silversmith. To collate all sound reactions to the physical application of a variety of mediums, tools, techniques and processes to create an auditory landscape and diary during the creation of a physical object. 

I am a multidisciplinary musician and artist from the North East, UK. My work mainly focuses around experimental guitar, chordophones, the recent study of lute and early music alongside a decade or so in and out of a variety of bands, projects and collaborations. My recent release Vault of Heaven, came out on my electroacoustic cassette label The Crystal Cabinet. Vault of Heaven focuses on creating celestial soundscapes entirely from the historic mellotron and its tape soundscapes in reaction to the accompanying series of artworks.

Diana Lola Posani

My project focuses on imagination as a tool to reconnect foreign listeners with the new acoustic reality around them.

After moving from my hometown to a completely different acoustic environment my sonic reality has become a continuous interpretration of the daily sounds of the other inhabitants of my alley. Occasionally when I don’t recognize a sound, I look out the window trying to escape from this feeling of alienation.

Even more often, however, I stay inside the house and imagine the source of the sound. My research intent is to rediscover the wonder that guides children in navigating their way through a still unfamiliar world, using imagination as a compass and a stitching tool between inner and outer sounds.
The intention is not to delimit the sounds by attributing to them an interpretation ( even if an imaginative one) but to open up the boundaries of listening through poetic ambiguity, which breaks the logical connections of meaning in order to create new ones.

The very action of recording is an act of alienation, of tearing away from the “here and now” of the sound event.

I want to take this alienation and use it as an expressive tool, to re-imagine reality. 

Diana Lola Posani is a sound artist, independent curator and Deep Listening facilitator certified by the Deep Listening Foundation. She performs internationally and debuted on Fango Radio in 2022 with the podcast Kaikokaipuu. Her work has been presented at Errant Sound (Berlin), Tsonami Sound Art Festival (Valparaiso), I AM UNDONE festival (Oslo), Short Theatre (Rome), as well as in museums such as Palazzo Fabroni (Pistoia), MACRO museum (Rome), and MADRE museum (Naples). In her work the voice is used as a narrative sign, a gateway that allows a glimpse of fragments of emotional worlds that unravel in pure sound. Her vocal experimentation focuses on the co-creative relationship between unamplified voice and space and on the metamorphic possibilities offered by extreme vocal techniques.
She is also the curator of AKRIDA, a nomadic sound art festival presenting international artists with female and non-binary identities, and translator of the Italian editions of Pauline Oliveros’ books “Deep Listening” and “Quantum Listening” published by Timeo publishing house in 2023.

Craig Gell 

In response to the open call, I am making a collection of ‘room tone’ recordings from within extant WWII pillbox defences in the locality of Folkestone, Kent. 

These reinforced concrete chambers, commissioned in 1940 to defend Britain against invasion, remain embedded in the landscape, obsolete but still sentinel, watching and listening as the world around them moves on. 

The sites surveyed for this project formed part of the defence grouping known as the ‘Folkestone Nodal Point’. Their design falls into two variants: the Type 22 regular, and Type 24 irregular hexagonal plan, with walls between 12 and 24 inches thick, up to five embrasures and an interior blast wall (usually Y shaped). Any sound that is able to penetrate through its narrow entrances and loopholes is subject to the distinctive properties of the interior space.

My starting point for this project is a recording I made in 2021 at a nearby pillbox built on top of a Bronze Age barrow along the ridge of the Folkestone Downs. From the pillbox’s vantage point, the distant rumblings of the Channel Tunnel complex below can be heard.

Craig Gell is an artist, composer and musician based in Folkestone, Kent. As a sound artist, his work explores our relationship to the landscape, and offers alternative perspectives and means of connection to it, using field recordings, sound synthesis and creative coding to produce sound walks and maps, multimedia installations and electroacoustic compositions.

Irene Trejo

each drop carries a story-sound

Inspired by the chapter of Witness to the rain from Braiding Sweetgrass by Robin Wall Kimmerer, I am developing a diary of rain. Water is a network carrying stories from not only past, present and future, but from different dimensions. It is a matter where all realities united can be perceived, yet exist in their difference. When it rains, we are all touched by it. Even when being under a roof. The stories that fall from the clouds are transformed by the bodies they touch and affect us all.

However, rain is not one thing. It is composed of drops that fall at different tempos and rhythms; that have different forms and sizes. Every drop carries a different story and sounds different depending on what it touches and where it is disintegrated with a splash. Every drop is changed by its relation with …

I want to listen to the sound of a drop falling into different bodies/places I relate with within life – including my own body – to listen to the stories they bring and sound in more attention. To listen to our relations more intentionally.

Transdisciplinary poet and researcher from Mexico based in Berlin. Her/their practice focuses on the exploration of different relational forms and translanguage through sound and embodied listening – playing with layers, possibility, memory, dreams, identity, poetry, and various creative processes. Irene waters Ecotonalismo Fluido (@fluidecotonalism), a collaborative and transversal proposal exploring relation and feeling between liquid ecotones. And she creates sonorous poetry-experiments under the alias “merma suelo”, having released her debut album with Ecuatorian label +ambién this 2023. Recipient of the “Ladridos” residency with Other People label & Grieta (Chile).

Fiona Brehony 

A comparative study of sounds from outside the River Thurne and the River Irk.

My initial response to the Sound Diaries Open Call was to make three soundscapes that accompany images and pieces of poetic text relevant to three sections of the River Thurne.

I am in the early stages of a PhD research project – engaging in possibilities of rivers (with a focus on River Irk) as Intangible Heritage; collecting sounds, images and text and exploring relationships to the river, past and present. This research is within a Geography department, and I felt it essential that I maintain a strong relationship to the foundations of my artistic practice. That is, with playful engagement to places I am working with.

In Geography, the term ‘sound’ refers to a smaller body of water usually connected to a sea or an ocean (Geographical Sound). There are only three geographic sounds in the UK and only one connected to a river (Heigham Sound which connects to the River Thurne via Candle Dyke). This was an entirely new concept to me and one I wanted to engage with in a playful and poetic way.

I believed that working with River Thurne on a sound diaries project would allow me to playfully engage in a different location and would enrich a later stage of my research with the River Irk. However, as my research progresses, I realise I am approaching the River Irk in very much the same way I will approach River Thurne. With this, I began to compare sounds and ecologies of these rivers. While the Thurne is a stretch of river giving access to Hickling Broad and Horsey Mere as well as flowing through Martham Broad, the Irk flows through the historic county of Lancashire and ends below Victoria Railway Station in the centre of Manchester. The idea of the Thurne being of an eco-system that eventually flows out to sea, while the Irk comes to a holt below Victoria Railway Station began to fascinate me. 

Being in Manchester, I experience a lot of rain and now when I experience rain, I think about rivers. I think of the downpour reaching a mountain, a spring emerging from the ground moving downstream. Merging into another stream. I think of the body of a river. Of rivers leading to estuaries out to sea softly waving into expansive home. Of sun softly heating sea water; evaporation and clouds forming. I think of this cycle and what happens when a river is stunted by blocks, buildings and waste. What happens when a river is culverted? What happens to the life of a river and how does this impact sound outside of these spaces?

Fiona Brehony is a Manchester based artist and writer, working within spaces between Geography, documentary film, sound art and performance.

Fiona’s personal values as a practitioner are entrenched with humanistic approaches to discovering ways of making environments more equitable. She is passionate about life and in exploring ways lived experiences can be filled with light and playfulness. This is the way she approaches all work. 

Since October 2023, Fiona has been working on an AHRC funded research project that engages in possibilities of rivers as Cultural Heritage, with a particular focus on rivers in areas of regeneration. Her research aims to identify ways in which community connections to the River Irk in Manchester can be used to inform how people interact with the space around them. By identifying potential constraints of the city through creative public engagement, we can look at possible ways to liberate the past and present histories of spaces we inhabit.

Fiona is currently in the process of engaging in river histories, exploring moments in Manchester’s history and sites of the River Irk through returned visits to the river and its evolving surroundings, documenting through sound and other creative methodologies. If you’re interested in hearing more, please contact Fiona Via the contact information on her website 

Jodie Saunders 

sonic debris


Dartmoor is host to several large abandoned granite quarries. In these startling reverberant hollows – with present-time uses such as military training, tourism and a one-time Bear Grylls TV show – I am listening, making sonic, written & drawn observations. Granite from these quarries journeyed on to become part of HM Prison Dartmoor, as well as further afield to become New Scotland Yard’s façade, London Bridge and Nelson’s Column. I am unfolding, in writing, a mix of historical, environmental, folkloric and mythological stories from these sites and investigating the stories and sounds that could be held in granite. Recording in quarries, I am conscious of parallels with extractivism in sound art – from ideas of sound ‘capture’, storage and placement in new contexts, to the mined materials included in recording technologies. The recent and ongoing Right to Roam campaign, fighting for rights of access to Dartmoor, will be woven into my listening and personal response to the site

Jodie Saunders explores ‘Tentacular Listening’ – listening as an attentive, embodied and essential way of being. Past projects have investigated feminist sonic histories/stories – as in Lyneham Collection (2020) & invisible:indivisible (2022). ‘In the Mind’s Ear’ (2021) asked questions around underwater listening and the effects of human-generated sound on underwater beings. In ‘Tentacular Listening’ (2022), she collaborated with Emma Somerville in a BSL conversation exploring listening and vibration.

Lizzie King

I am looking at the human and non human communities that use Peel Park.  Founded in 1845 by public subscription Peel Park has a long history of being a place of nature and meeting for the people of the industrial city of Salford.  The park is surrounded by the University of Salford, family housing, and local businesses and is a hub of everyday community activity. There are over 25 species of trees, different faunas, a river running alongside it with different water fowl living in it, bats, foxes, and many other different types of non-human life. The human and the non human parallel communities living in the park, are the focus on the diary and the places of sound intersection are where my recordings are taking place.  The park run through a contact mics on trees, the rushing and trickling of underwater where the ducks sit and get fed, the chatter of the birds over the sound of football matches and the play area; these are the noises that I am looking to record, the places humans and non humans share a sonic space.

I am an artist who works with photographic processes and sound. Place, experimental methods, and sustainable and ethical practices are main points of interest in my practice as I look to examine the ‘human-centred universe.’ I often work outdoors and examine the relationship between humans and non-human species. I am exploring ways of working that allow for co-creation between myself and other species. My work has been exhibited nationally and internationally and has been supported by University of Salford Art Collection and Open Eye Gallery.

Joshua Le Gallienne

In 1859, naturalist Alfred Russel Wallace coined the term ecotone to describe transitional areas where different ecological communities meet. Known for their richness of biodiversity, ecotones are often among the first environments to exhibit responses to climate change. Wallace considered these zones as points of tension, naming them after the Greek word for stress (tonos). Incidentally, the word tone, used to describe the characteristics of sound, has its origins in the same place.

For Sound Diaries, I am interested in drawing parallels between the ecotone and the non-binary trans body, examining both as potential sites of listening. I have identified points of contact between the properties of the ecotone and my experience of gender as a non-binary trans person. I have found that my body and ‘nature’ are often contested due to tensions between what is felt internally and how I am met by the world. Like trans bodies, the boundaries of the ecotone are not always clearly defined or fixed, they are transitional and often display non-linearity in their development.

My project will focus on the sounds encountered in ecotone biomes of North East England. I will conduct fieldwork on the tidal islands of Lindisfarne and St. Mary’s Island on the Northumberland coastline. I will document my experiences through short, poetic texts. I am interested in using text as a means to explore the representation and documentation of sound outside of the realms of phonography. My texts will consider the implications of the language that is used when talking about sound and listening practices, re-appraising the legacies of our sonic vernacular, much of which was borrowed directly from militaristic and hunting contexts.

Joshua Le Gallienne (b.1985) is a non-binary British artist whose work explores the material qualities of sound. Through sculpture, installation, and performance, the artist stages intimate experiences that explore the relationships between sound, physical materials and environmental phenomena. Their work attempts to challenge expectations of what sound is, how it is experienced, and examine the methods and politics of its production. Since 2006, Joshua’s work has been regularly exhibited and presented in the UK and internationally; operating primarily outside of a traditional gallery context. Their work is unmediated and mostly undocumented in order to place emphasis on experiencing sound in the present moment. In line with this the artist has no website or online presence.

Helen Kohl

We are gut vessels carrying the ebb and high tides of life, 

Attached to myriad funnels and antennas, 

Sharing water, tears, and personal truths. 

We spill. We leak. We seethe. 

We are in communion with space.

We roam this world, thinking we are fully autonomous bodies – no roots attached; the skin of our bodies marking the border where one being starts and the other ends. But we forget that as bodies, we are porous. We leak and we seethe, and our physical body, as well as its inhabiting soul or spirit, is in constant exchange with its surroundings. We exchange thoughts and experiences; we share tears and laughter.

In a way, we are vessel beings walking the earth with myriad antennas and funnels, gathering waters of all sorts to brew within us our own ocean of belonging. Our tides thereby made by the tides of others; sharing the same waters but never carrying the same ocean. We are tactile feelers, listeners, tasters, and information gatherers of all senses; never found in situations without stimulation. Our funnels always open to receive information in exchange for our own personal stories and histories.

Being human is to fill, to spill, to receive, and to share.

Helen Kohl is a German sculptor and installation artist based in Oxford, with a keen interest in poetic writing and philosophy, and a background in biology and education. Her work spans a wide range of different mediums, from more traditional materials and techniques, such as casting and glass work, to writing, performance, and installation. The carrying vessel shape, the receiving and giving funnel, the idea of shared waters, and listening to silent spaces are thereby re-occurring themes in her practice. In response to what Donna Haraway describes as Troubled Times, Helen Kohl’s work emphasises what Ursula Le Guin would call the life story — the subtle, often unnoticed sensations and sounds of life itself that are embedded in moments, materials, and history.

Instagram – @studiohelenkohl

Joana Burd

Vibration Eavesdropper: navigating felt frequencies, 2024

Over the last decade, my odyssey has been intimately entwined with the exploration of vibrational phenomena, through the medium of sound sculptures, installations, and interactive video pieces that probe intricate textures of our auditory landscape. 

My proposal for this project is to capture the omnipresent yet often overlooked vibrations that constitute the backdrop of our daily lives. Venturing in different cities that I cross, my goal is to document the subtle low frequencies that permeate our environment, crafting an immersive audio experience that encapsulates these vibrations in a format accessible to a broader audience. 

This will be achieved through a microphone technology capable of capturing a vast spectrum of frequencies, including the elusive infrasound, complemented by the creation of a graphic partiture that visually represents sonic encounters. This methodological approach is not merely technical, but imbued with a desire to translate the complex interplay of sensory experiences into a tangible and tactile auditory narrative.

Envisioning how this auditory journey might be experienced through headsets, I perceive it as a theatrical portrayal of the reality I’ve captured. In my quest to faithfully record and reproduce the subtleties of air movements and deep, low frequencies, I am committed to transcoding the energy of vast sound waves into the intimate realm of earphones, thereby offering a variable deep listening experience.

Artist, educator and researcher of haptic aesthetics. Graduated in Visual Arts in 2014 (UFRGS, Brazil) and Master in Visual Poetics in 2018 (UFRGS, Brazil). She is currently a doctoral student at the University of Barcelona, where she is also teaching Sound Art disciplines. Currently Burd is a member of the research groups: ‘Connected Bodies II. New processes of creation and diffusion of the practices of identity artists in non-presentiality'(UB, ES) and ‘Biohybrid Bodies: a sociological framework for living with Living Machines” (UCL, UK). Joana has presented seven solo exhibitions, in the past year she exhibited her work in London (UCL/IKlectik), SBCAST (Santa Barbara, CA, USA), RIW Rio Innovation Week (Rio de Janeiro, BR) and Atelie397 / Galeria Vermelho (São Paulo, BR).