More info coming soon.

Listening Back is a sounding and listening practice, a Web browser plug-in that sonifies Internet cookies, and a research into the potential of sound to engage contemporary socio-political contexts. For Oscillation ::: from the Mothership, Listening Back will be presented as a multi-channel audio-visual installation that exposes the proliferation of ubiquitous online surveillance. As a sounding strategy for interrupting the visual surface of the browser interface, the real time sonification of Internet tracking cookies provides a non-stop, durational composition. Seamlessly embedded into the Web, automated processes of personal data extraction such as the cookie remain intangible to the surveilled. The relative invisibility of digital surveillance, and the proliferation of consumer modes of online surveillance has both intensified and rendered ambivalent our relationships to being surveyed.

© Andrzej Golc

Jasmine Guffond is an artist and composer investigating the intersection of sound, technology and political infrastructures through live performance, recording and installation. Research based artistic projects provide sonic experiential platforms to encourage listening as a mode of socio-political investigation and explore what it may contribute to the production of knowledge. She has also released solo records with the Sonic Pieces, Karl Records, Editions Mego, OOH-Sounds, and LINE / Boomkat Editions labels.

The idea of progress is tied to the acceleration of atomic matter and the instrumentalisation of free-flowing electrons powering greedy antennas and appliances.  Much of what radio amateurs call “dirty electricity” leaks through the everyday devices we use, while the electromagnetic fields they emit permeate human and more-than-human bodies, as well as the spaces we inhabit. What if these fields were understood as a critical natural resource, capable of awakening the power potentials of earthly and cosmic beings? This exhibition offers a gateway to technofeminist strategies for engaging with the explosive presence of radio frequencies through intra-active transmissions between bodies and both physical and immaterial matter.

𝐨𝐨𝐨𝐨𝐨 is a transuniversal constellation that creates projects in relation to relevant techno-social issues. Their ‘open’ network inspires participatory processes, mutual learning and collective emancipation. For Squawks, whoops, swish and whirls , they bring together the research of technoactivist, radio-amateur and performer ON3MCR, who explores strategies of digital re-affection, and transdisciplinary artist and Kung Fu practitioner Isabel Burr Raty, who questions meanings of matter, territory and healing.

Derniers Souffles, initiated in 2021, explores the acoustic characteristics of obsolete electronic components, their mineral origins, and the industrial processes behind their fabrication. L’archipel (The Archipelago) plays with the musicality of the breaths of diodes and transistors through a sound installation performable by two people; an attempt to create a language to speak to oneself and to others while shedding words. Drawing on the archipelago as a figure of relation, the installation connects sculptures-as-instruments through cables and shared experience. Activated during performances, concerts, and lectures, it becomes a medium for collective musical and theoretical expression.

Sonia Saroya develops a fragile, discreet universe through installations combining sculpture, digital art, and sound. Her sound sculptures and autonomous “tool-artworks” explore landscapes and listening journeys, drawing on philosophy, humanities, and low-tech practices. Edouard Sufrin beschouwt kunst en technologie als pharmakon – zowel vergif als remedie – en gebruikt immersieve, locatiespecifieke praktijken om zich te verzetten tegen spektakel en dominante techno-industriële verhalen. Hij combineert artistiek onderzoek met kennisoverdracht via autonome tools, lezingen, workshops en onderwijs aan de Université Paris VIII, École des Beaux-Arts de Paris en daarbuiten.

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Mixed feelings is an installation conceived for the storage and access of information, in music, sound, and affect. Detailed structural and formal protocols compile a sprawling corpus of voices and music, composed and sampled from pop culture, avant-gardes, marginalised or politicised communities, operating since 2018 as a slow-moving field recording of the internet. Diffused over a sound system comprising cardboard-box loudspeakers, light sources, and their infrastructure, Mixed feelings mobilises shifting modes of attention to interrogate the act of listening, and relating, to information we hear.

Charlie Usher is a composer living in Brussels, working with composed sound, heart-on-sleeve cultural samples, installations of rotary and handmade speakers and live instruments; in museum, gallery and concert hall contexts. His solo and collaborative work has been installed and performed over Europe and North America. A double CD edition of his recent collaboration with Slow Reading Club was released by Ediçoes CN in 2025. Since 2022 he co-runs the project space Winona with Sabrina Seifried and Henry Andersen.

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(s)tones (s)tones is an FM synthesis audio plugin that tries to challenge the highly technical and exclusionary narratives common in audio technology. It prioritizes accessibility, playfulness, and creative experimentation as core design principles. The plugin functions not only as a sound tool but as an interactive environment that invites intuitive and unexpected exploration. By prioritizing surprises over technical precision, it encourages an open and inclusive relationship with sound.

Laura Conant is a Brussels-based producer, DJ, designer and developer whose work combines technology and sound. She focuses on designing audio technology with accessibility and play in mind, believing that coding and creating tools with a DIY ethos can empower individuals to better understand and use the tools they engage with. As part of the MONTAGE label and event series, she promotes a more inclusive electronic music scene.