{"id":13,"date":"2019-01-29T18:10:56","date_gmt":"2019-01-29T18:10:56","guid":{"rendered":"http:\/\/oscillation-festival.be\/?page_id=13"},"modified":"2019-04-25T11:15:42","modified_gmt":"2019-04-25T09:15:42","slug":"artists","status":"publish","type":"page","link":"https:\/\/oscillation-festival.be\/2019\/artists\/","title":{"rendered":"Artists"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"class_list":["post-13","page","type-page","status-publish","hentry"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3,\r\n 3\r\n ],\r\n \"frameMargin\": 3,\r\n \"topFrameMargin\": 200,\r\n \"bottomFrameMargin\": 3,\r\n \"rowAttrs\": [\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {}\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Adam Asnan<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a professional location sound recordist and electroacoustic musician based in Berlin. In 2009 he acquired a master\u2019s degree in acousmatic composition under Prof. Denis Smalley. Asnan is a dedicated advocate for location sound recording and its craft, working across different capacities, including for film and TV, live performance, and capturing natural environmental sound.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 0,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Aki Onda
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 36\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

was born in Japan and resides in New York. He is particularly known for his Cassette Memories \u2014 works compiled from a \u201csound diary\u201d of field-recordings collected over the last three decades using a Walkman cassette recorder. From these sound memories he creates compositions, performances, and visual artworks.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 31,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Akio Suzuki
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 37,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a \\\"quester after sound and space\\\" that he has received the most attention from artists in many fields.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 35,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Alice Pamuk<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 38,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a visual artist based in Brussels. She has a double degree in Japanese and visual art. She typically works with sound, video, and text. Her works often unfold from research into sound and music. Recently she has worked with and on the voice, both as a tool and an object of observation.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 34,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Andrea Neumann<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 39,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

has been a musician and composer in the field of new and experimental music since 1995. She has been involved in the formation and development of the echtzeitmusik scene in Berlin, which borders on fields like electronic music, contemporary composed music, performance, and sound\u00a0art. She has co-organised the Labor Sonor series in Berlin since 2000.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 32,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Anna Raimondo<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 40,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

seeks for encounters, reflecting and questioning multiple and gender perspectives within and on life. It is a journey into social diversity creating possible areas of interaction. Her method is flexible and variable, accepting the accidental and the unforeseeable. Her process enables her to be part of the exchange and aims at making her art a meeting place.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 33,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Anne-Laure Pigache<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

works on the boundaries of sound poetry, theatre, and experimental music, with a particular interest in improvisation, performance, and radio. Since 2010, she has been interested in the musicality and poetry of daily speech. She builds artistic works on the basis of both forms of orality occurring in intimate and social space, and of language as a site of singularity and identity.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 6,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Annette Vande Gorne<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 9,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

music focuses on the sounding energies of nature, and transforms them in the studio to create an abstract, expressive, and non-anecdotal musical language. The relationship between text and music is another subject she often explores. She interprets acousmatic repertory, including her own works, on a eighty-loudspeaker acousmonium.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 10,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Beatriz Ferreyra<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 42,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

worked at ORTF (French National Television), and as a member of the GRM (Groupe de Recherche Musicale) as part of Pierre Schaeffer\u2019s team. She has worked a composer since 1970, and had commissions for concerts,\u00a0festivals, films and TV music, theatre, and video. She writes articles and gives seminars and lectures.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 41,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Benny Nemerofsky Ramsay<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 45,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an artist, diarist, and researcher. His artistic work mediates emotional encounters with musical, art historical, and queer cultural material, encouraging deep listening and empathic viewing. In his work you will find bells, bouquets, ceramic vases, enchanted forests, gay elders, gold leaf, love letters, madrigals, megaphones, sex-changing flowers, sign language, and voices of birds, boy sopranos, contraltos, countertenors, and sirens, among others.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 43,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Bill Dietz<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 46\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a composer and writer. His large-scale works have been realised at locations such as Le Corbusier's Cit\u00e9 radieuse in Marseille, the Bauhaus Archive in Berlin, and along the entire length of Im Stavenhof in Cologne. He has published in his Tutorial Diversions series, works to be performed at home, and L\u2019\u00e9cole de la claque, made up of concert pieces.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 44,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

David Toop<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 11,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

has been developing a practice that crosses boundaries of sound, listening, music, and materials since 1970. This encompasses improvised music performance, writing, electronic sound, field recording, exhibition curating, sound art installations, and opera. It includes seven acclaimed books, release of thirteen solo albums, and collaborations with a wide variety of artists.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 11,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 12,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Doron Sadja<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 48,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialised sound \u2013 combining pristine electronics with lush romantic synthesisers, extreme frequencies, and sonic phenomena, Sadja creates hyper-emotive sonic architecture. His output spans from Wave Field Synthesis, kinetic sculptures, string orchestra works, to large-scale immersive environments.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 47,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Els Viaene\u00a0<\/span><\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 13,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 13,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

started as a sound artist with a set-up of two small microphones, listening, zooming into, and enlarging the surrounding aural landscape with its hidden natural rhythms and textures. Her compositions and installations allow the listener to travel through imaginary environments, creating new spaces which emphasise or wipe out the physical borders of the space they are in.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 13,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 14,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Emmanuel Holterbach
<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 14,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a musique concrete composer and sound artist. He presents lectures about sound art and the art of listening. He has written a biography on Eliane Radigue (published by INA \/ GRM) and coordinated the publication of her audio work for Alga Marghen and Important Records. He is a co-founder of the record label Les Productions Fluorescentes.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 14,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 109,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Enrico Malatesta<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 15,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 15,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a percussionist interested in experimental research on music, performance, and pedagogy. He explores the relation between sound, space, and movement, with attention to the multi-material possibilities of percussion instruments. This research places a strong emphasis on the material\u2019s potential to produce a multiplicity of information through simple actions, the motion and experience of listening, and the sustainability of the presence of the performer.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 15,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 16,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Franziska Windisch<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 50,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

's work moves between performance, text, composition and installation. She composes scores for performative acts which interrogate notions of trace, medium, sound and listening, and which she then incorporates in linguistic, sculptural and installative arrangements. Situations that illustrate transformative processes and have unforeseen or irreversible results are key to her artistic practice.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 49,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Guillaume Maupin<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 52,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a Brussels-based singer, guitarist, filmmaker and curator at Cinema Nova. He is known for his project Human Jukebox, and sings with the acapella trio Tartine de Clous.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 51,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Isabelle Stragliati<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 17,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a sound and radio artist, composer, and DJ. Having practiced meditation for eighteen years, she likes to bring together her sound and meditation practices through reflections on mind, sound perception, and ways to listen to the environment. Her productions and live performances involve field recording, documentary, radio drama, electroacoustic music, and techno.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 18,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 18,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Jennifer Walshe<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 19,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 54,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a composer and vocalist, specialising in extended techniques. She has developed projects such as Gr\u00fapat, which assumed twelve different alter egos, and created compositions, installations, graphic scores, films, photography, sculptures, and fashion under these alter egos. Her most recent project, Aisteach, is a fictional history of the musical avant-garde in Ireland.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 19,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 53,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

J\u00e9r\u00f4me Noetinger<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 56,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a composer, improviser, and sound artist using electroacoustic devices such as tape recorder Revox B77, analogue synthesisers, mixing desks, speakers, microphones. He works with music, dance, film and painting, and performs both solo and in ensembles. He has been director of Metamkine and member of the editorial committee of Revue & Corrig\u00e9e.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 55,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

John Butcher<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 21,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 20,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

has collaborated with hundreds of musicians since the early 80s. Butcher\u2019s music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and unusual acoustics. Recent compositions include \u201cPenny Wands\u201d for Futurist Intonarumori, \u201cGood Liquor\u2026\u201d for the London Sinfonietta, and \u201cTarab Cuts\u201d.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 21,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 19,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Jonathan Frigeri<\/b>\u00a0<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 21,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a sound artist, radio producer, sound collagist and electronic musician. As sound artist he is mainly interested in revealing hidden sonic layers of reality, to open spaces of imagination. In his work for radio he incorporates the creative process, the radio device and the space between the transmitter and the receiver, thus emphasizing the space in between, between here and there.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 22,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Juliette Volcler<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 24,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an independent researcher, sound critic and curator from France. She is the author of two essays, Extremely Loud: Sound as a weapon (The New Press, 2013) and Contr\u00f4le: Comment s'inventa l'art de la manipulation sonore (La D\u00e9couverte \/ La rue musicale, 2017). She is the co-editor of Syntone, a review dedicated to radio and sound art critique.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 23,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Justin Bennett<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 24,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 58,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

works with sound and image, using drawing, video, sculpture, and a diverse array of sonic forms in his research. A recurrent theme is the experience of architecture, urban development, and (un)built space. He employs sound in order to render it audible as well as palpable: in his work, listening carefully provides a radically different way of seeing and experiencing.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 24,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 57,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Klaas H\u00fcbner<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 25,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 26,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a sound sculptor, improviser and instrument maker. His work honours sound as a live medium with which to craft, shape and play in real time. He has developed a playful practice reaching from punk to minimalism, from installation-based works, to live improvisations, to theatre and dance. <\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 25,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 25,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lars Kwakkenbos
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 113,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

studied History and Art History at the KULeuven (Louvain), Universit\u00e9 Fran\u00e7ois Rabelais (Tours) and Freie and Humboldt-Universit\u00e4t (Berlin). Since 2001 he has been publishing on visual and performing arts and (landscape) architecture in and for De Standaard, A+, A10, \u2018scape, Etcetera, Rekto:verso, Flanders Architectural Yearbook et al. From 2002 till 2007 he worked as an editor for Klara, the cultural channel of
VRT-Radio. Since 2008 he is working as a lecturer at the KASK\u2014Royal Academy of Fine Arts\u2014in Ghent.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 112,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u200bLeonie Persyn<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 27,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 27,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a researcher who develops a phenomenological-philosophical approach to sound in the contemporary performing arts, claiming that sound provides the spectator with new possibilities to re-connect with the image in a more profound way. This heautonomous relation of sound and image opens up an in-between-ness where auditory imagination can arise.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 27,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 28,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u200bLila Athanasiadou
<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 60,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a freelance writer and researcher with a background in architecture. Her work misreads and appropriates artistic, academic and architectural milieus exploring feminist and queer pedagogical practices and intersections of human, non-human, machinic and territorial bodies.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 59,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Linnea Semmerling<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 29,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 29,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a PhD candidate who explores the exhibition history of sound in visual arts institutions in Germany and the United States since the 1960s. As a curator, her research interests concern socially engaged artistic practices and the relationships between technologies, institutions and the senses.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 29,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 30,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lucie V\u00edtkov\u00e1<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 30,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 64,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a composer, improviser and performer (accordion, hichiriki, harmonica, voice and tap dance). Her compositions focus on sonification, while her improvisation practice explores characteristics of discrete spaces through the interaction between sound and movement. In her recent work, she is interested in the musical legacy of Morse Code and the social-political aspects of music and art in relation to everyday life.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 30,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 61,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lucy Railton<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 31,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 65,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a cellist, composer and curator. Her expansive and variegated interests have led to collaborations and international appearances, most recently with synthesiser pioneer Peter Zinovieff, in Everything that rises must dance with Sasha Milavic Davies, Complicite for 200 female participants, and around the repertoires of Morton Feldman and Iannis Xenakis, Catherine Lamb and Kali Malone.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 31,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 62,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Luke Fowler
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 32,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 115,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an artist, filmmaker and musician based in Glasgow. He studied printmaking at Duncan of Jordanstone College of Art and Design in Dundee. He creates cinematic collages that have often been linked to the British Free Cinema movement of the 1950s. His documentary films have explored counter cultural figures including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 32,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 114,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Manfred Werder<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 33,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 66,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

composer, is wandering through the abundance. His scores feature words and sentences found in poetry, philosophy and the world. Earlier works include st\u00fcck 1998, a 4000 page score whose nonrecurring and intermittent performative realization has been ongoing since December 1997. Lives in situ.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 33,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 63,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Manuel Lima<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 34,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 68,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a performer-composer. Themes in his work often include creating irony around the notion of high culture, destabilizing the traditional concert setting, with intimate stories including confessional elements and multimedia created for site-specific performances. He has composed work for dance, theater, (live) cinema, video, television, installation, orchestra, and light.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 34,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 67,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Mark Fell
<\/b><\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 35,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 72,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an electronic musician, multidisciplinary artist and producer whose work has persistently challenged the boundaries between electronic dance music and academic computer music composition. He has fused ideas from contemporary Western philosophy and experimental cinema with emergent club music styles. Fell has composed complex dynamic works, and more recently moved into explorations of the interplay between algorithmic systems and acoustic performance, typically including choreographic and text-based elements. <\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 35,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 69,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Marc Matter<\/b><\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 36,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 73,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an artist, researcher, and lecturer on sound and text, and member of Institut fuer Feinmotorik. He is the composer of several audio texts for radio, and a performer of electroacoustic sound poetry. He has released work on various labels, and is co-director of Cosmosmose, a festival between poetry, music and performance.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 36,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 70,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Mariska De Groot<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 37,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 74,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is intrigued by the phenomena and history of optical sound. She makes, performs and composes for comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience in light, sound, movement and space.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 37,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 71,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Melissa E. Logan<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 38,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 81,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

works with performance, installation, video, painting and electronic music, layering meaning, contradiction and process, clich\u00e9 and duration. Her work treats authenticity, touches on theory, shifts to artificial exaggeration, post punk urgency, avant-garde nonconformism. She is part of the collective Chicks on Speed, and has founded the University of Craft Action Thought.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 38,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 75,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Michael Vorfeld<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 39,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 82,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a musician and visual artist, plays percussion and self-designed string instruments and realises electroacoustic sound pieces. He works in the field of experimental, improvised music and sound art, realizing installations and performances with light and sound, photography and film. He collaborates with various ensembles and artists in different formats. <\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 39,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 76,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

ooooo<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 40,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 83,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a transuniversal constellation that initiates, mediates and facilitates, curates and appropriates projects, abducing thought, reflection and praxis on relevant issues. oooo is hosted by Marthe Van Dessel, an activist and performer who creates interfaces, devices & protocols to instigate our urban and institutional hardware & software. She engages in the administrative, cultural, socio-political dimension of personal and collective identities. By triggering intersubjective alliances she confronts the 'self & other' with the commons, co-authorship and the redistribution into the public domain.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 40,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 77,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Oracle<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 41,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 84,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a collective practice that was developed by Caroline Daish, Justine Maxelon and Michel Yang as a need to voice, to heal and to collaborate. Oracle spans the artistic field to social and educational contexts including the care sector. The members share their practice in the form of open labs, workshops, publications, presentations or as a spontaneous interventions in public space.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 41,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 78,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Paulo Dantas<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 42,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 85,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a musician, sound artist, teacher and sound technician. His interests as a researcher resulted in a deeper engagement and collaboration with other artists, doing technical phonographic work as well as organizing concerts, publishing articles, playlists and compilations. His recent artistic work is connected to improvisation and composition with field recordings and synthesisers.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 42,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 79,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pedro Oliveira<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 43,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 86,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a researcher, sound artist, and educator working in, with, and around decolonial and sonic thinking. He is one half of the design education duo A Parede and a founding member of the Decolonising Design platform. He holds a PhD from the Universit\u00e4t der K\u00fcnste Berlin.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 43,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 80,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Peter Ablinger<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 44,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 91,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

claims that sounds are not sounds. They are here to distract the intellect and to soothe the senses. Nor is hearing even \u2018hearing\u2019: hearing is that which creates me. The composer is a skeptic who understands the cultural rules and (destructive) habits enforced by tradition. So let us play further and say: sounds are here to hear, but not to be heard. That\u2019s something else. And that hearing is here to be ceased.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 44,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 87,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pierre Berthet<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 45,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 92,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is musician, composer and sound artist. He composes and builds sculptural sound objects and installations (steel, plastic, water, vacuum cleaners, \u2026). He presents them in exhibitions and solo or duo performances in galleries, outdoor contexts, music venues and more.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 45,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 88,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Rie Nakajima
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 46,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 93,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an artist working with installations and performances that produce sound. Her works are most often composed in direct response to unique architectural spaces using a combination of kinetic devices and found objects. She has produced Sculpture with David Toop, explores music with no genre with her project O YAMA O with Keiko Yamamoto, and works with Pierre Berthet on Dead Plants\/Living Objects.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 46,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 89,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Rebecca Glover
<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 47,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 94,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a multidisciplinary artist working across sound, foley, sculpture and performance. Diving inside different bodies and materials her work seeks out alternative perspectives for listening and re-engaging with the world.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 47,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 90,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Salom\u00e9 Voegelin<\/b><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 48,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 97,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

makes sound and writes about sound to access through words and ephemeral things the indivisible sphere of a connected world. She is the author of Listening to Noise and Silence (2010) and Sonic Possible Worlds (2014), and most recent book The Political Possibility of Sound. Voegelin is a Reader in Sound Arts at the London College of Communication, UAL.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 48,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 95,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

S\u00e9verine Janssen<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 49,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 98,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

studied Philosophy at the University of Li\u00e8ge. After having spent some time on teaching and researching, since 2009 she has been coordinating BNA-BBOT, an organization dedicated to the sonic history of Brussels. She\u2019s interested in sound as a historical, social and political vector, but also as a spectral figure capable of founding a common world.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 49,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 96,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Sofia Jernberg<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 50,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 102,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is an experimental singer, composer, improviser and performer. One of her deepest interests as a singer is to explore the \u201cinstrumental\u201d possibilities of the voice. Her singing vocabulary includes sounds and techniques that often contradict a conventional singing style. She has dug deep into non verbal vocalizing, split tone singing, pitchless singing and distorted singing.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 50,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 99,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Thierry Madiot<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 51,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 103,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a musician and sound artist. He plays air and sound objects, and bass trombone. He questions the contemporary sound practices in all types of social situations. In addition, he creates and modifies instruments, unidentified sound objects and sound installations by intervening directly in the architectural space of reception. He is the initiator of Sound Massages and Being Listening.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 51,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 100,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Tomoko Sauvage<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 52,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 104,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

studied jazz piano and Indian music. When discovering the Jalatharangam, a traditional Indian instrument with water-filled porcelain bowls, she got fascinated by the simplicity of its device and sonority. Sauvage immediately started to hit China bowls with chopsticks in her kitchen. Soon her desire to immerse herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 52,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 101,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Wederik De Backer<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 53,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 107,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a Belgian radio maker, specializing in radio drama, satire and radio documentaries. He creates audio for radio and theatre productions. He has produced documentary features and audio plays for several radio broadcasters.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 53,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 105,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Xabier Erkizia<\/strong><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 54,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 108,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

is a musician, sound-artist, producer and journalist from the Basque Country, working in formats such as sound installations, recordings, musical compositions, radio-art, bands, and collective improvisation. He is member of the association AUDIOLAB, and since 2000 he has directed the annual Other music festival ERTZ.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 54,\r\n \"col\": 3,\r\n \"colspan\": 9,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 106,\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","phonegrid":"","_links":{"self":[{"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/pages\/13","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/comments?post=13"}],"version-history":[{"count":0,"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/pages\/13\/revisions"}],"wp:attachment":[{"href":"https:\/\/oscillation-festival.be\/2019\/wp-json\/wp\/v2\/media?parent=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}