"Patrick Farmer (b.1983) is a musician and sound artist working within improvisation and composition. Commonly referred to as a percussionist, Farmer will often enlist the help of a drum or turntable to act as a resonator for natural materials or filtering field recordings. He has performed throughout Europe and America, including concerts at the ICA, Stockholm National Gallery, and The Radiator Festival. He has recently spent time as artist in residence at Q-O2 in Belgium and MOKS in Estonia, with a forthcoming residency at Soundfjord, London."

"Antoine Beuger (b. 1955 in Oosterhout, Netherlands) studied composition with Ton de Leeuw at Sweelinck Coservatorium in Amsterdam 1973-78. In 1990 he began composing after an interruption of about 10 years. Two years later he founded Edition Wandelweiser together with composer/performer Burkhard Schlothauer. Since 1994 he's been active with the conception and organisation of KLANGRAUM, a concert series at Kunstraum Düsseldorf. During the years 1995-2001 he was working together with visual artist Mauser as artistic director of "Werkraum", Place for Interdisciplinary Artistic Events, Cologne. Since 1996 he's been artistic director of edition wandelweiser records and since 2004 managing director of Edition Wandelweiser gmbh."

"Jeph Jerman is a musician who began his musical career drumming and playing in bar bands. In the 1980s, he became aware of other sonic possibilities for his drum kit and started learning to improvise and record his own music. During this time Jerman was a frequent collaborator with other musicians who were also exploring improvisational techniques. In the mid-1980s, Jerman founded a cassette label for the distribution of music by himself and friends. The label released over 50 cassettes, several LPs, and a short-lived magazine.

After relocating from Colorado to Seattle, Jerman continued playing with local groups of improvisers and began giving solo performances where he improvised with mostly natural found objects, a practice he continues today. He founded the first animist orchestra dedicated to making larger scale works using natural object play. In 1999, Jerman moved to Cottonwood, AZ. He continues to investigate sound and recording in many forms including field recordings, the building of crude sound making devices, and the effects of age and other damage to analog tape. Jerman's 2014 Grants to Artists award funded recording and touring with Tim Barnes. Jerman continues to collaborate with Dave Knott in a band collectively known as The Yes, Well, and with Tim Barnes, with whom collaborated on an FCA-supported record released in 2015 (Erstwhile Records.) Other CDs and works are available on Anomalous Records, Semperflorens, and Trait Media Works."

"Bruno Guastalla was born in France in 1957, and lives with his partner ceramicist Aline Stanway in Oxford (UK). His main activity for the past 40 years has been to restore and make violins and cellos, since 1983 as part of Oxford Violins. He is also a music performer and improviser. He plays cello and bandoneon in MUE, Set Ensemble, Ensemble Azut, Oxford Improvisers, Cold Harbour Trio, DEC Project. He has collaborated amongst others with Philipp Wachsmann, Dominic Lash, Cafe Reason Dance Company, Macarena Ortuzar, Helena Gough, Martin Hackett, Pete McPhail and various members of the collective Oxford Improvisers. Experience as an instrument maker influences his attitude to sound. He uses conventional notation, field recordings and various sound editing techniques. Questions around language, perception and shape making come up a lot. Song project is a collaboration with singer Sarah Verney Caird and poet Joe Butler."

"Sally Ann McIntyre was born in Hobart, and currently resides in Dunedin. Her creative practice is highly responsive to place, and includes sound art, the creative use of radio, and the the use of field recordings, as well as a concurrent practice in poetry and associated forms of writing.

A major platform for her artistic output since 2006 has been a hand-made narrowcast radio station named radio cegeste, a nomadic performance and recording project which broadcasts within a small radius to any locality on the frequency 104.5FM. Lo-fi, site-specific technological interventions into the soundscapes of various places and ecologies are often conceived as exploratory inter-species collaborations, for which she acts as curator and operator, destabilising the notion of one-to-many broadcast, and associated forms of control and authorship within the medium. Soundscapes recorded on site are layered back into the environment with historic field recordings on 78rpm and other media, problematising the immediacy of listening, and asking questions about its historicisation.

radio cegeste has released material on the labels winds measure, Consumer Waste, and/Oar, Idealstate, Flaming Pines, and Gruenrekorder. Sally's sound work also includes ongoing research into the materiality of recorded silence, the history of birdsong transcription, and the hauntology of extinction as a trace within sound archives, including the use of pre-electrical sonic inscription and playback mechanisms, such as gramophones, phonographic wax cylinders and music boxes, to bring extinct birdsong back to audibility. Projects have been exhibited in galleries and project spaces in Australia, New Zealand, the UK and the U.S.

Her critical practice spans radio documentary, critical writing, and curatorial and organisational work. She has written for Flash Art International, Art Asia Pacific, and other print media, and since 2009 has been involved as an Australasian curator for the international Radia network, which is a curatorial platform for peer-to-peer experimental radio art, commissioning many new works from sound and radio artists in the region. Her interests include environmental history, post-humanism, the history of museums, ethno-ornithology, island ecologies, avian electomagnetic navigation, obsolete technologies, the poetics of erasure and the trace, the possiblity of locality within the globalised, and the cultural and historical situatedness of listening."

"Holly Pester was born in Colchester in 1982. She now lives in London, teaching and researching at Birkbeck, University of London. Her PhD investigates the history of Sound Poetry and the poetics of analogue technologies. The sound texts and performance scores collected here have featured in various cross-disciplinary events, including the Serpentine Gallery Poetry Marathon, Text Festival 2011 and the Liverpool Biennial. In live scenarios her idiosyncratic vocal technique locates a poetic in between the disciplines of poetry performance, song and new media art."

"Daniela Cascella is a London-based Italian writer. Her work is focused on sound and literature across a range of publications and projects, driven by a longstanding interest in the relationship between listening, reading, writing, translating, recording and in the contingent conversations, questions, frictions, kinships that these fields generate, host or complicate.As a writer who has chosen to write in a language that is not her mother tongue, she is interested in a form of writing-as-sounding that performs instabilities and oscillations.

She is the author of F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound (Zer0 Books, 2015) and En Abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012).F.M.R.L. is a collection of short texts, fragments and deranged essays. It claims the complexity and intermittent incoherence in listening and reading, and works with their residual aspects addressing canons, issues of authenticity and fabulation, degrees of opacity and transparency across languages and cultures.En Abîme explores listening and reading as creative and critical activities driven by memory and return, reshaped into the present. It introduces an idea of aural landscape as a historically defined cultural experience and adopts listening an expansive approach across poetry, visual art and literature.

Her writing has been published in books and and exhibition catalogues internationally, on Koenig Books, Errant Bodies Press, Cura Books, raster-noton among the others; and in art, music and literary journals such as Gorse, 3:AM Magazine, Music & Literature, The Los Angeles Review of Books, The Scofield, The Wire, frieze.com, Organised Sound, MusicWorks, The Journal of Sonic Studies, Wolf Notes.Daniela is currently Guest Curator (2015/16) at Lydgalleriet Bergen, Norway, where she is developing the LYD Writing Research Residencies in collaboration with Dominique Hurth and Natasha Soobramanien.She is Contributing Editor at minor literature[s] where she initiated a new section called Untranslated, publishing reviews of books not translated in English.

She is Assistant Professor in Writing in the MA Fine Art, Bergen Academy of Art and Design, Bergen, Norway, and Associate Lecturer in the MA Sound Arts and in the MA Photography at LCC / University of the Arts London.

She was a Research Fellow in the School of Arts at Oxford Brookes University (2013-2015) and has taught a workshop on Sound, Listening and Language in the MFA Fine Art, Goldsmiths University of London (2014-2016). She has taken part in conferences and forums, and has presented readings internationally, at the School of the Art Institute of Chicago, the Piet Zwart Institute Rotterdam, University of Oxford, University of Copenhagen, University of Cambridge, Royal Conservatoire The Hague, Tate Britain, Arnolfini among the others.

Prior to her move to London in 2009 Daniela worked in Rome, Italy as a journalist and curator specialising in Sound Art, producing and curating projects for museums and public institutions such as the National Gallery of Modern Art, Rome and the British School at Rome.

Between 1999 and 2008 she was contributing editor of Blow Up music magazine, for which she wrote a monthly column on sound and the arts as well as articles and reviews on experimental music."