30.09.2025 88,4 FM Berlin - 90,7 FM Potsdam

(english) This Tuesday, September 30st, we host our long durational broadcast on 88,4 FM Berlin / 90,7 FM Potsdam, in partnership with Colaboradio and Freies Radio Berlin Brandenburg. The transmission will go from 12:00pm until 03:00am of the following day (CET)
(español) Este martes, 30 de septiembre, emitiremos nuestro programa de larga duración en 88,4 FM Berlín / 90,7 FM Potsdam, en colaboración con Colaboradio y Freies Radio Berlin Brandenburg. La emisión se realizará desde las 12:00 del mediodía hasta las 03:00 de la madrugada del día siguiente (CET).
(português) Nesta terça-feira, 30 de setembro, realizaremos nossa longa transmissão na frequência 88,4 FM Berlim / 90,7 FM Potsdam, em parceria com a Colaboradio e a Associação de Rádios Livres de Berlim/Brandenburgo. A transmissão ocorrerá das 12h às 3h do dia seguinte (CET), 7 às 22hs no horário de Brasília.
(Deutsch) Am Dienstag, den 30. September, senden wir unsere Langzeitübertragung auf der Frequenz 88,4 FM Berlin / 90,7 FM Potsdam in Zusammenarbeit mit Colaboradio und dem Verband Freie Radios Berlin/Brandenburg. Die Sendung läuft von 12 Uhr bis 3 Uhr am nächsten Tag (MEZ), 7 Uhr bis 22 Uhr brasilianischer Zeit.

Segments

EnAguas Resonantes

ES • 60 min
This Tuesday, September 30, at 12:00 CET, with a repeat broadcast the following day at 2:00 CET on the FM band of Colaboradio / Freies Radio Berlin Brandenburg, we are launching the first edition of EnAguas Resonantes project to close the SoXXI festival 2025, through the episode 5 of season 7 of the Comusik podcast, dedicated to the collaboration between Latin American composers and the SoXXI percussion ensemble from Spain.

El proyecto EnAguas Resonantes nace con la idea de crear colaboraciones, difusión e intercambios entre Latinoamérica y Europa con compositoras-creadoras de música nueva de diferentes países, a través de festivales y/o proyectos de difusión y creación de redes entre instituciones, asociaciones, plataformas, entidades educativas, colectivos, etc. para la visibilización, posicionamiento, autarquía e independencia a través de la igualdad de oportunidades para los grupos que han sido históricamente marginados por género, origen étnico, condición social, etc.

Ante la falta de oportunidades y el limitado acceso a los espacios ya que son regidos por élites en el ámbito de la música académica —especialmente en Latinoamérica—, surgen iniciativas como la que se propone en este proyecto. Consideramos fundamental para el diálogo, intercambio y enriquecimiento de la escena musical actual crear espacios, alianzas y colaboraciones donde antes no existían, favoreciendo a grupos históricamente marginados, como las compositoras y artistas que se identifican dentro de la comunidad LGTBQ+.

Este proyecto cuenta con 13 compositoras de 7 países de Latinoamérica y sus proyectos, redes, festivales y/o colectivos, mujeres con sólida trayectoria profesional, y compromiso con el activismo por lograr igualdad y respeto en diferentes ámbitos desde la música combinada con la ciencia, la tecnología, el ambientalismo, la neurodiversidad, difusión y gestión cultural, entre otros.

Comusik Podcast:

@berthaelenaarteroponce @lluvia_m8s @ana.mora.f @crishea.koyck @miriamrosasbaez @arochanela @mariana_leon_r @schmelkes @melissa_vargas_f @evagarciaf_music @ana_romano_g @marcelalauraperrone @valeriazul @joan.sorianomorales @projectesoxxi

Créditos: COMUSIK

I want to eat the earth

EN • 60 min
‘I want to eat the earth’ A sonic almanac from the New School of the Anthropocene

NSOTA is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice.

This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

This episode is created for the September equinox, when dark and light equalize for a brief pause in the turn of the year, a short moment before the long exhale into the next season. The piece is curated and produced by Stephen Shiell and composed using original material from NSOTA scholars and friends.

Scholar contributions:

Stephen Shiell a field recording at the bus station at LA airport, waiting for a bus to Hollywood, and a chance encounter with a fellow traveller, 2016, on the way to Burning Man festival.
Skye Selection from work in progress, Notebook
Venetia Allen & Tim Rabjohns (aka shimmerglisten) Embrace the Surrender exploring the sounds of our natural world through ambient song Rhona Eve Clews field recording of fruit sellers, late Sunday night, London
Michael Timmerman the Introit of a Requiem, based on Fauré and introducing the theme that the harmonic series that grounds all music is a fact of physics. “Extracting” beautiful melodies from a universal phenomenon is a universal thing. The piece carries forward the beauty, balance and optimism placed in the Christ figure and offers a take on a requiem for a future that is unlikely to take place. Special thanks to Nainita Desai and Chris Watson for their track “A Glacier’s Journey, Iceland”, which is sampled here.
Pascal Sleigh and Elspeth Leitch I hate the landfill, the persistent and carcinogenic chemicals which build up in Canterbury’s Shelford landfill site are re-practiced through speech and improvised piano. A delay effect imitates the way these materials pollute a future which is unlivable, and unlistenable.
Hannah White Oyster Girl old english folk song depicting a tale of female resistance and retaliation on the streets of 18th century London
Simon McClelland Morris Autumn is Now Falling, A brief comparison of trust systems, and the expectation that one season follows another as it always has, and always will, even in the time of climate collapse
Rhona Eve Clews field recording of fruit sellers, late Sunday night, London
Chris de Sel South Downs Flat Time Holborn – Glyndebourne – Goodwood – Brent. Hydrophone recordings from deep time ecopoetics workshop with Hugh Dunkerley at the Artworkers Guild
Rhona Eve Clews found broken intercom, Green lanes, London
Rhona Eve Clews The body rumbles on (we’re iron filings after all), spoken poem
Rhona Eve Clews field recordings from The Grange residency, Norfolk
Carol Melo field recording of hollow monkeys in my morning walk in the tropical forest of La Sierra Nevada, Colombia.
Breathing Space Collective Ember, an improvisation dedicated to the element of fire, from the void before sparks to the roaring flames, echoed through organ drones and voice. Performed live at St. Leonard's Church in Shoreditch, as part of an immersive evening in collaboration with Sun At Night around the theme of 'Fire'. Using a multi-channel speaker system the audience was immersed in a sonic tapestry of voice, percussion, bell and organ, exploring resonance and harmonics.
Carol Melo recorded with ebird. An app that helps to identify bird spices through their song. This special recording shows so many species in one morning in my little house in the tropical forest.

@nsotagram @stephen_shiell @rhonaeve @chrisdesel @hannah_mary_white
@simon_mcclellandmorris @pascalsleigh @timmerman242 @skye.mcdb @breathingspacecollective @carolmelofr @shimmerglisten

Credits: NSOTA

image credits: Caique Santiago (@cofoirastafoto)

Rádio Caxuté Giramundo

PT-BR • 37 min Comunidade Caxuté na Virada Cultural Amazônia de Pé! No dia 19 de setembro, a Comunidade Caxuté esteve junto da articulação nacional pela Amazônia de Pé (@amazoniadepe), evento que reuniu coletivos e comunidades no Brasil inteiro entre os dias 19 e 21 para reforçar a importância de lutarmos para que a Amazônia e seus povos permaneçam vivos.
O Caxuté participou da atividade ministrando uma aula de Geografia para o EJA (Educação de Jovens e Adultos) da Escola Caxuté, reconhecida como a Primeira Escola de Religião e Cultura de Matriz Africana do Baixo Sul da Bahia pela pela Fundação Cultural Palmares (2014) e pelo IPHAN (2015).
Na aula, denunciamos o garimpo (legal ou ilegal) nos territórios da Amazônia, bem como os diversos conflitos que permeiam a floresta e seus moradores, como a grilagem de terras e o avanço do agronegócio, as queimadas e as mais diversas violências. Lutar pela floresta, pelas águas e pelos povos é compromisso de todas comunidades de terreiro e de toda sociedade.
A aula, ministrada pela mestra em Geografia pela USP Amanda Benedetti à partir da Pedagogia do Terreiro, integrou a programação do episódio de estréia da Rádio Caxuté Giramundo, que será lançada em breve em nossas redes sociais. Agradecemos a parceria com Monaí e a @archipeldotcommunity, que nos apoiou na construção da nossa rádio.
O episódio também contou com a participação especial de Mam’etu Kafurengá (@mametukafurenga), escritora, Pedagoga, autora da Pedagogia do Terreiro, especialista em Relações Étnico-Raciais e Cultura Afro-Brasileira, e Doutora Honoris Causa pela Ordem dos Capelães do Brasil e pela faculdade FEBRAIC.
Nzo Caxuté: Força, nguzu e resistência!
Créditos: Rádio Caxuté Giramundo - Comunidade Caxuté @comunidadecaxute.oficial

Slowing Down to Infrastructures

EN • 480 min
Slowing down to Infrastructures is a six months long radio show commissioned for the 2025 Copehagen Architecture Bienalle that generatively programs live streams from the everyday rhythms that sustain the Copenhagen Architecture Forum’s facilities.
A live, durational web radio streams the unnoticed infrastructures of the city - the hum of machines, the churn of air, the pulse of pipes - folding them into long, slow compositions that wander across the months of the Copenhagen Architecture Biennial. It’s about slowness and attention, about listening differently to the background noise of urban life and finding alternate rhythms there: accelerations, loops, lulls, sudden intensities. A dramaturgy of the everyday unfolds almost beneath perception, where even the garbage truck outside or the modem’s faint buzz are absorbed into an unending score.Underneath, you’ll find a shifting schedule of broadcasts: meandering conversations on slowness, fragments of dialogue, and live streams drawn from the biennial’s program.
The dialogic form of the conversations starts from a simple premise: to converse on slowness and temporality in a single take. The exchanges often unfold at a meandering pace, allowing ideas to surface gradually—an intentional contrast to the speed and structure of commercial radio.

Conversations will be released incrementally, building momentum in the lead-up to the Biennial in October. Fragments of different lengths will also be integrated into the larger composition, contributing to the work’s evolving sonic and temporal structure.

electromagnetic activity at the data / internet router
water flows and self-noise under the kitchen sink
vibrations from streets and the building heard through the radiator with muffled conversations at the space
ventilation from the storage room with muffled ambient sound and conversations from other rooms
Conversation on Slowness 1: Fermented Chestnut in deep balcony time - a conversation about slowness with Lucie Schroeder and Florence Freitag
Conversation on Slowness 2: a walk with Siegmar Zacharias & Cassie Thornton
Conversation on Slowness 3: conversations about the breathtaking speed of an acorn while descending towards the ground in the Forest of Corriedoo as had by Herrn Lemke and several oak trees.
Conversation on Slowness 4: Dreamy cherries in a small garden on Sonnenallee, a conversation on naps and dreaming with hooops (Elisa Pieper & Lena Astarte Posch).
Conversation on Slowness 5: slow is smooth smooth is fast. a bedroom conversation with Lark Lyra Lou Hill and florence freitag
Conversation on Slowness 6: Trusting the common in a post communist context. A conversation on slowness between Adriana Gheorghe and Siegmar Zacharias
Conversation on Slowness 7: rumination between Loch Glar while transforming in its own TIME into a bog and Helmut G.L.

Credits: Radio Otherwise, commisioned by the Copenhagen Architecture Forum for the Copehagen Architecture Biennal with the support of the LINA Fellowship.

Tejiendo Corredores ~ Weaving Corridors Ep.3 Fundación Mar Adentro con Maya Errázuriz: arte, ciencia y regeneración

ES • 41 min
Episode 3 - Fundación Mar Adentro in Chile with Maya Errázuriz: art, science and regeneration - Extended Summary (English) In this third episode of Tejiendo Corredores / Weaving Corridors, Ela Spalding (Estudio Nuboso) is joined by Chilean curator and editor Maya Errázuriz of Fundación Mar Adentro.
They reflect on the shared vision and methodologies between their two organizations, both members of the Green Art Lab Alliance, and the importance of creating natureculture corridors as spaces of planetary care and resilience.
Maya describes Bosque Pehuén, the foundation’s conservation site in La Araucanía, southern Chile, where art, science, and humanities intersect in a unique residency program. This privately conserved forest was acquired by her family in 2006 and later became the heart of Fundación Mar Adentro, which was formally established in 2011. Located next to a national park, Bosque Pehuén functions as a vital ecological connector — helping to reweave fragmented habitat while also becoming a living laboratory for transdisciplinary research.
They discuss the challenges and evolution of the foundation’s approach to conservation — from early questions of how art and ecology can coexist, to now having an integrated method that values process, experimentation, and critical reflection. Maya shares how artistic residencies there invite participants to live within the ecosystem, and how both artists and scientists contribute complementary observations, from species inventories to sound recordings and creative explorations.
A significant thread is the use of sound as a tool for monitoring environmental change. Initially led by artists, sound has become a formal layer of ecological research, capturing not just bird calls but also atmospheric dynamics like wind and rain. These recordings provide new perspectives on the rhythms of the forest, including elusive sounds like nocturnal birds or amphibians rarely heard during the day.
Ela and Maya also reflect on their shared experiences of building cross-cultural solidarity during the pandemic through the Green Art Lab Alliance, and how invisible networks of mutual support — between peers in Latin America and beyond — are in themselves a form of ecological and cultural corridor-building.
The episode concludes with reflections on shifting narratives: how small-scale, locally rooted initiatives are key to planetary regeneration, even if mainstream media fails to acknowledge their impact. The conversation is a powerful invitation to reimagine conservation as a creative, collaborative, and deeply interconnected process — one that honors not only nature, but also the human and more-than-human communities that inhabit it.
Episodio 3 - Fundación Mar Adentro en Chile con Maya Errázuriz: arte, ciencia y regeneración - Resumen Extendido (en español) En este tercer episodio de Tejiendo Corredores / Weaving Corridors, Ela Spalding conversa con Maya Errázuriz, curadora y directora de arte y publicaciones de la Fundación Mar Adentro en Chile. A través de este diálogo, exploran metodologías compartidas y visiones afines sobre la intersección entre arte, ecología y conservación, desde sus respectivas organizaciones, ambas miembros de la Green Art Lab Alliance.
Maya presenta el proyecto de conservación de la Fundación Mar Adentro en Bosque Pehuén, ubicado en la región de La Araucanía en el sur de Chile. Esta área protegida de propiedad privada, que bordea un parque nacional, fue adquirida por su familia en 2006 y se convirtió luego en el centro de las actividades de la fundación, oficialmente constituida en 2011. Bosque Pehuén actúa como un conector ecológico clave en un ecosistema fragmentado, además de ser un laboratorio vivo para la investigación transdisciplinaria. Hablan sobre los desafíos y aprendizajes del proceso de integrar arte y ciencia en este contexto, y cómo con el tiempo han desarrollado un enfoque que valora tanto la experimentación como la reflexión crítica. Las residencias artísticas invitan a habitar el bosque y observarlo desde distintas perspectivas, complementando el trabajo científico con exploraciones creativas que generan nuevas formas de conocimiento.
Un hilo conductor importante en la conversación es el uso del sonido como herramienta para el monitoreo ambiental. Lo que comenzó como una práctica liderada por artistas ha evolucionado hacia una capa formal de observación ecológica, con registros de aves, anfibios, viento y lluvia que permiten escuchar el bosque desde otras dimensiones, incluso captando sonidos inaudibles durante el día.
Ela y Maya también comparten su experiencia de colaboración a distancia durante la pandemia, cuando tejieron redes de solidaridad entre colegas de América Latina y otras regiones a través de la Green Art Lab Alliance. Estas conexiones invisibles son también corredores culturales y ecológicos en sí mismos, fortaleciendo la resiliencia colectiva.
La conversación cierra con una reflexión sobre la necesidad de cambiar las narrativas hegemónicas: muchas de las iniciativas más transformadoras son de escala pequeña y están enraizadas localmente. Aunque no siempre reciban atención mediática, son esenciales para la regeneración planetaria.
Este episodio es una invitación profunda a imaginar la conservación como un proceso creativo, colaborativo e interconectado, que honra tanto a la naturaleza como a las comunidades humanas y más-que-humanas que la habitan.
Credits: Ela Spalding, Estudio Nuboso

Zeit zu reden - Das Recht auf Widerstand unter Terrorverdacht

DE • 165 min
"Wenn Unrecht zu Recht wird, wird Widerstand zur Pflicht" – mit diesen Worten wird gerne Bertold Brecht zitiert, wann immer es um gesellschaftlichen Widerstand gegen ungerechte Verhältnisse geht. Der Satz stammt zwar ursprünglich von Papst Leo XIII. aus dem 19. Jahrhundert, erscheint aber relevanter denn je. Unter welchen Umständen ist es Bürger*innen eines Staates oder einer Bevölkerung unter Fremdherrschaft erlaubt, Widerstand zu leisten – auch gewaltsamen? Welche völkerrechtlichen Regeln gelten für den bewaffneten Widerstand? Und wie lässt sich dieser von dem inflationär und häufig unpräzise verwendeten Begriff „Terror“ abgrenzen?

Das Panel diskutiert theoretische Grundlagen und praktische Beispiele von (bewaffnetem) Widerstand. Welche Mittel und Methoden nutzen Revolutionäre gegen ein diktatorisches Regime im eigenen Land und wie unterscheiden sie sich von antikolonialen Befreiungskämpfen? Gegen wen darf Gewalt gerichtet sein, wer ist Vertreterin einer Besatzungsmacht und Repräsentantin staatlicher Repression? Es werden Lehren aus der Geschichte gezogen – von der Französischen Revolution bis zum Nordirlandkonflikt – und über die Parallelen zwischen historischen Figuren wie Mahatma Gandhi, Nelson Mandela und Yassir Arafat nachgedacht. Wann gelten Anführerinnen von Widerstandsbewegungen als Terroristen und wann als Helden? Wie werden Staatsfeinde zu Friedensnobelpreisträgerinnen? Außerdem geht es um Ideologie, Religion und Machtstrukturen: Was verbindet Organisationen wie die palästinensische PFLP, die nordirische IRA, die kurdische PKK und die baskische ETA? Woran erkennt man staatlichen und nicht-staatlichen Terror? Und was unterscheidet die Hisbollah von den Taliban und die Hamas vom IS? Diese Veranstaltung wird unterstützt von der Schöpflin Stiftung, der Stiftung Mercator, der Robert Bosch Stiftung und der Postcode Lotterie. An dem Panel nehmen teil: Helberg Kristin, Christoph Reuter, Dr. Dieter Reinisch, Prof. Helga Baumgarten und Prof. Christian Marxsen
Credits: Zeit zu Reden

Archipel e.V is a small arts and culture association registered within the german requirments, according to which we assigned as our main purpose advocating for tolerance in all areas of culture and the concept of international understanding, especially supporting the emancipation of entities that have been pushed to the margins.

In the last months we have watched consecutive war crimes being commited by Israel backlashing Hamas horrendous attentat on October 7th 2023. We have watched powerful governments, in particular the German, support inconditionally and financially an offensive in Palestine that is unjustifiable. We watched hate speech profaned by the mouths of people in charge. We watched hundreds of international human rights organisations desperately denoucing an on-going massacre. We have watched protests, especially in Berlin, that in no way endorsed Hamas - instead mourne and demanded respect to human rights - be violently supressed. We have watched police reinforcement of racial profiling and provocations to the Palestinian, Arab and Muslim communitites living in Berlin. We have watched a quick escalation of discrimitation and ignorant statements about Arabs and Muslims, specially inside schools, from educational staff and school communities. We have watched german art and educational institutions, when at all making public statements, show solidarity to the losses of Israel and silence about what is happening in Palestine. We confirm a complex set of silencing mechanisms at play against those that are critical of mainstream narratives.

Hereby we publicly declare our devastation about this situation and that we do not agree with the ways the German government and the German cultural and academic circuit has acted so far. We are disapointed and specially revolted by the discrepancy between all the decolonial discourse that has permeated the arts - a staging in which all members of our organisation have acted upon - and the general retraction to a brutal scenario that blows up the main injustices and power inequalities decolonization fights against. We understand there are many mechanisms for silencing at play, still, we cannot accept the submission to this oppression of speech and criticism. We call specially the german voices to work out through their reasons not to speak up and use their locus of speech that is of particular relevance to the injustices exploding in the last months and to the extreme-right agenda that is taking over more and more space.

We would like also to call attention to the many ways in which this current crisis reinforce mechanisms of polarization and separation between people all over the world. Archipel will put its efforts in maintaing its open channel for all voices and contuining to produce spaces of encounter in times of further increase in broken relationships. Inasmusch as we feel we must speak out against the current upmost injustices, we also need to stay aware of the importance of connectivity and cross-communication in the sight of a large aparatus that is trying to disrupt valuable interpersonal relationships. We want to contribute to free and diverse media environment and foster cultures of listening that produce empathy and respect.

CEASE FIRE NOW. REPAIR.

p.s. We keep changing at the beginning of this statment days, for weeks, for months... now it's almost two years.