Sound Reasons Festival VI | ReINSTALL – 2nd Session | New Works | Live Performances | Talks |


Sound Reasons Festival VI | ReINSTALL – 2nd Session | New Works | Live Performances | Talks |

Fri, 26 October | 6.30 pm onwards
ReINSTALL | Second Session | New Works
Live performances | Installations | Talks | Presentations |
Korean Cultural Center | New Delhi

Mon, 22 – 24 Oct | 6.30 pm onwards
Walk Throughs
| Immersive Listening Sessions | Talks |
Korean Cultural Center | New Delhi

The Second Session – ReINSTALL of the Sound Reasons Festival VI will be taking place on the Fri, 26 Oct at the Korean Cultural center marked with new installations of Sound Art works, along with live performances and Installations. We will also conduct some immersive and directed listening sessions along with walk throughs and talks from Mon, 21 Oct – 24 Oct. More dates to be announced soon.

Sound Reasons Festival VI | ReINSTALL – 2nd Session | New Works | Live Performances | from Sound Reasons on Vimeo.

Over the next few weeks more sound works will be added as installations and we will making some presentations, live performances and directed listening sessions at the Korean Cultural Center.

Please check the Sound Reasons website at for more information and updates.



Sound Reasons Festival VI | Sound Art | Electronic Music

Friday, 14 September 2018 | 6 pm onwards
Sound Reasons Festival VI | OPENING
Sound Installations | Live Performances
Walkthrough | Presentations

Exhibition is open till 22 November 2018

Korean Cultural Center
24 A Ring Road
Lajpat Nagar IV
New Delhi

Sound Reasons Festival VI for Sound Art and contemporary electronic music will take place here in India and the main part of the Sound Installations and live performances will take place at the Korean Cultural Center in New Delhi. This will be the first part for the festival and it will take place form the 14th of September to the 22nd of November 2018. Our curative focus this time is on the Indian and the Asian Sound Art scene. Creative activities will include live performances, workshops and Sound Installations that will happen across various venues in Delhi, Goa and Banglaore. Additionally, we will be extending some of our activities right well into the month of February in 2019. Here in the following is the first list of artist curated at the festival and more names will be added in the future

Venzha Christ
Marcus Maeder
Shun Owada
Arnont Nongyao
Salomé Voegelin
Ish S
Cathy Lane
da Saz
Suvani Suri
Paul Purgas
diFfuSed beats
Lisa Hall
Hannah Kemp-Welch
Wicked Mannequins
Bidisha Das
Kaushal Sapre
Dipali Gupta

Please check for updates on the events, live performances and installations as some of them are still under process and will be finalised over the next few weeks. The opening is at the Korean Cultural Center, New Delhi with Sound Art Installations and Walkthroughs.

More importantly, in the next couple of months we will be announcing additional artists for the our creative activities which will include live performances, recording and collaborative sessions as a part of the Sound Reasons Festival. These activities will extend well into the months of February and March in 2019. Please do keep checking out the website for further updates. Other Important date in New Delhi is

Friday, 26 October 2018 | 5 pm onwards
ReINSTALL | Second Session
Live performances | Installations | Workshops |
Korean Cultural Center | New Delhi

So again here we would like to remind all the artists who have applied through the ‘Artist Call’ that their entries/ works are still relevant for this along with the future editions of the festival. These will also include other creative activates at Sound Reasons that happen all year round. More information on these will be updated here in the last half of October 2018 on the Sound Reasons Website.


The world is heard; its sonic space and time is generated through the complex unity of listening and perception. At Sound Reasons this listening becomes the centrepoint of an innovative and generative practice, and as a strategy of engagement to explore different curatorial landscapes each time. The experience of the works presented at the festival shows a unique spectrum of the many possibilities of Sound. At the Sound Reasons Festival we want to initiate such listening(s) through explorations and inter-media intersections as we engage the world and our lived experience through sound.

Sound as a medium is very dynamic and its activities and forms can be experienced and appreciated through a continuous engagement over time. The characteristics of continuity and redefinition are complex, yet vital, to positioning Sound Art as a truly post-modern form. At Sound Reasons I have used an open-ended approach to curation in order to navigate the complex waters of Sound Art to extend and enhance the individual or collective experience. Therefore, at the Sound Reasons Festival the medium and its processes are always the foci and need to be engaged with and explored.

‘The sonic frame’ in the form of experiences curated and generated here is as intangible as sound itself, and is redrawn countless times. The installation by Venzha Christ uses DIY receivers to convert radio waves from space into an audible spectrum, that can be experienced along with a visualisation of the same. In the second installation called ‘Circle’, I have sonically interpreted the opposite side of an astronomical Event Horizon, which forms a listening field where the body and sound can meet (on the horizon). These two become objective and subjective interpretations of the universe that surrounds us. Therefore, while extending these listening experiences, the curatorial direction is not located in history or in sociopolitical discourse, but is rooted deeply in the experiential realm – in the now, in the immediate submission to it. And in this becoming, the imagination is almost more important than reality, the virtual more significant than the real. The fleeting experience of the sounds and the noise is the unique construct of the individual and not of her/his history or cognitive development.

Finally, for the sixth edition of the Sound Reasons Festival we have a great opportunity to represent the Asian scene with a focus on South East Asian Sound Art. By uniting the artists with similar creative processes and with a lens on the phenomenological and on listening, newer patterns have emerged. Over the next few months various live performances and sound installations will be presented tracing these hybrid patterns, with the momentum not settling on broad themes as offered by the visual arts, but on developing the immersive experience and newer languages and strategies for its interpretation

Ish S | Sep 2018



Venzha Christ
8 DIY Antennas, 8 DIY Signal Receivers, 4 speakers, 2 Frequency Visualisations

The art installation here results from the science of radio astronomy. The installation presents radio waves from space, sent and collected through self-made radio antennas gathering precise data from astronomical objects in space. The transmitted signals received from the planets and stars are then visually displayed and decoded into audible sounds which constitute the soundscape present in this gallery. Radio waves, together with light waves, have changed the way we view the Universe and dramatically increased our knowledge of it.

The Indonesia Space Science Society, shows us that that space is a continuous source of inspiration that compels practitioners from all fields to understand the universe we are within, using both tools and ideas of science, and those of art. This collaboration project between ISSS and Sound Reasons, will continuing to International SETI (Search for Extra-Terrestrial Intelligence) Conference in Yogyakarta Indonesia November 2018.

About Venzha Christ
Working with artists, scientists, astronomers and engineers in Indonesia, Venzha Christ established ISSS – Indonesia Space Science Society as a framework for the exploration of space from a different perspective. Whilst lacking the means that large space agencies such as NASA have, the Indonesia Space Science Society provides us with a compelling encounter with space nonetheless.With an interest in the external world, space signals, parallel universes, and ancient science and technology, he visits diverse research laboratories around the world and produces research-based artworks. With ISSS – Indonesia Space Science Society, Venzha Christ in fact launched Indonesia’s very first Space Science Society and this art work is developed by Venzha Christ and v.u.f.o.c lab in 2018.


The 8 Channel Audio Room | 4 Sound works installed in One multi-channel Room as an installation |

Cathy Lane

We are concerned here not so much with the almost natural phenomenon of identifying an enemy who is threatening us, but with the process of creating and demonizing the enemy” – Umberto Eco

Sound and language are powerful tools in the construction of imagined conflict scenarios and their aftermaths. ‘Preparations for an Imaginary Conflict’ was commissioned for Staging Disorder, an exhibition addressing the relationship between photography, sound art and modern conflict. The work uses UK public information media recordings, oral history, archival news, texts and specific geographical areas to examine the warlike rhetoric used by several generations of politicians to prepare the population to a possible attack or to construct the idea of a hostile “other” in a large number of real or imaginary situations.


Lisa Hall & Hannah Kemp-Welch

Listening for Instruction is a survey of how sounds are used as signifiers in public spaces in the UK, focusing on London as the case study. Collecting beeps, hisses, tones and automated voices, this work looks at how human workers are replaced by recorded sound, how sound is used to direct our behaviour, and how the voice is positioned within that. Probing current debates around the potential changes automation brings to working lives this study advocates for an automated future, supporting the anti-work movement’s call for ‘the right to the idle’ – the artists commit their own voices into a hybrid synthetic persona in support of this.

Virtual Voices is one third of the survey to date, made in conjunction with audio work Journey and zine Dictionary of Beeps.


Marcus Maeder

Lasta/Nigalana was originally composed for a 20-channel, ambisonic loudspeaker array in a dodecahedron. The piece, which had its premiere in 2008 in Dubrovnik/Croatia, has now been reworked for the 2018 SoundReasons Festival and adapted to a conventional ambisonics system. Lasta/Nigalana is based on the observation of countless numbers of swallows, which in summer fly over the city of Dubrovnik in large flocks, providing a special spatial-acoustic spectacle.

The Lasta/Nigalana piece selects as its model the cries made by the swallows as they move extremely dynamically in the air, and sets them into a sound image intended to musically reproduce the impression of shady and cool alleys within the thick, medieval walls of the city and the light reflections of the sea.


diFfuSed beats

There is always a stepping into our works and exploring spatial perception by opening up the listening perspectives by moving the sonic material generated into space. Most of the source material for this work was generated live though improvised processes, these include both synthesis and other live sampling techniques. In reflection one must plunge into this sonic world instead of surveying it and in the words of Merleau-Ponty “ it (the reflection) must descend towards it as it is – instead of working its way back up towards a prior possibility of thinking it ….”


Suvani Suri
2 Mics / 2 speakers / 1 mixer /

The project is one of a series of sonic experiments that probe into the nesting of the uncanny, within the everyday. A round of acoustic interpenetrations home in on the ambiguous zones between the inside and outside, the familiar and the unfamiliar in a bid to tease apart occurrences of the uncanny leak(s) in-between. Floating between the listening zones, one is looped into an endless feedback, a continuously mutating reflection borne of peculiar sounds intruding into spaces that have been held separate so far suggesting that at the very point of closure, there is an opening.

The flight of stairs that only goes up and down evokes the seduction of the strange and becomes the site of the uncanny encounter with that which is familiar and yet not. The useless staircase alludes to the Muy? kaidan, also know as a pure staircase, a Thomasson relics discovered by the Japanese artist Genpei.

The intervention serendipitously takes on the form of a conversation with the instrumentarium generated by the radiowaves in Venzha’s work ‘Evolution of the Unknown’. As the sonic realms of the works criss-cross into each other, speculations of the acousmatic uncanny that dwell in each of the inquiries, abound.


Dipali Gupta
1 Channel Video / 2 Channel Audio

The video works of Dipali Gupta attempt to denaturalize the social construct of topics such as immorality, indulgence, domesticity, and the male gaze. They expand upon sounds, movements and imagery of pleasure objects. The still life videos challenge the conventional perception of still life paintings through sonification and moving imagery. The Bedroom video is a representation of everyday spaces stereotypically occupied by women that become private domains of female subjectivity.


Ish S
8 Channel Spatailised Audio

Here I have interpreted the Sonic Horizon as a circle, where the subjective and the objective can meet. It is a process of observing and listening to the horizon up close and being on /in it. So it is a way of looking out (listening to) from the perspective of the horizon while inhabiting it. You will hear analog and digital synthesis and Juxtaposition of pure brown noise, which in this case forms the sonic perceptual horizon. Again here the point is to draw the attention and the listening to the movement of sounds in order to have deeper sonic engagement. The circle, in this case the the abstract representation of the opposite side of an astronomical Event Horizon, forms a listening field where the body and sound can meet, and this time-space can be inhabited from various angles and from both inside and outside.

There is a lot more to hear here in the quietening. The similarities of the sounding of the natural elements like that of the sea and the wind form the perceptual horizon, a line where the two meet or emerge from, the sonic horizon takes shape that can be heard and inhabited. (Object horizon) Sonically, the horizon here engages a listening of some geometric shapes, like circles, lines, hyperbolas, angles and rotation along with some sonic/ audio processes. These are interpreted on a plane which itself is subject to change of angels There is an outside and an inside of this horizon which is drawn by the circle in the middle of the room Various locations, both inside and outside the circle evoke unique listening experiences. Phantom listening perceptions will sometimes complete one spatial hearing perspectives, where the shapes are left out incomplete intentionally. There is outer limit of the horizon that can be heard form the corners of the room, where from far away the perception of the sounds in the center of the circle will become linear. Moving around therefore will give heterogenous perceptions of the installation and the sounds.


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