Andrea Parkins :: The Stray, Variation 3 (for 8 channels)  is an electroacoustic composition through which Parkins highlights and implicates correspondences (or ruptures) that take place between gesture, sound and space; and embodied tensions between attempt and fluency. Andrea Parkins’ composition draws on Julia Kristeva’s psychoanalytically-based writing on abjection and the sublime in which she evokes the subjectivity of a migratory, dislocated (and sounding) body: a “stray”. This is a wandering entity who might at once engage or disengage with matter, place, and situation: “… an exile who asks ‘Where?’”.*
Parkins’ works are based on an accumulative process. With a focus on daily studio practice, she documents her ongoing improvisational/compositional experiments, developing gestural/embodied approaches to working with both sonic and visual materials. Over time, she builds an archive of sounds, amplified works on paper, and sonified objects and moving images: combining and then locating these elements in response to acoustic, physical and metaphoric space.
The Stray, Variation 3 is an adaptation of Parkins’ The Stray (2021).  This 14-channel long-form work was composed in situ and then premiered at ROM for kunst og arkitektur in Oslo, as part of Parkins’ solo intermedia exhibition, Sonic Spaces for the Stray. For New Ear :: Spatial, Parkins presents an 8-channel version of the composition, specifically configured for Fridman Gallery’s octophonic cube.
* Kristeva, Julia (1982) Powers of Horror, An Essay on Abjection. New York: Columbia University Press.

Teya Weir x ADVIKA x Ophelia :: Imprints, Eternal sees the listener as a spectator - taken through vignettes of a House that’s been long abandoned. However, affects of its storied past poke through a dense soundscape of creaking wood and rotting foundation. Each movement of the piece serves as a different room where keen listeners can hear the story of the House as a revenant - a place once full of humanity, levity, anger, and grief. It begins in the basement and guides the listeners upstairs through the kitchen and the once grandiose ballroom. From there, listeners are taken through a shattered greenhouse, a labyrinth of hallways, a tattered bedroom, and a waterlogged bathroom before finally guiding them up and out through the attic. The House, however vacant, is a glimpse into the complexity of life. It begs the question: when the intangible is left behind, where does it go? This piece uses field recordings, guttural vocal performances, and a wide variety of instruments to paint a vivid picture of ghostly decay. 

Diane Barbe :: The piece Signe Singe, composed in the autumn of 2025, develops from a very old question: how do we know that a thunderstorm is a thunderstorm, an owl an owl, and a flute a flute? Between the forms emerging from the analog circuits of 1960s and 70s synthesizers and the voices hidden in the breath of wind instruments made by the composer, Signe Singe asks whether these sounds, too, “came from the earth.”
The composer warmly thanks the people who made this work possible and contributed their breath and help, including Pia Achternkamp, Christine Armengaud, Stefano Arrigoni, Irwin Barbé, Louise Boghossian, Audric Chauvin, Varoujan Chetirian, Pablo Diserens, Selu Herraiz, and Lisa Mondlane.