A solo performance series, Ryoko's shimatsu projects her ideas with contraptions made out of objects, domestic appliances and mundane electronic devices, creating a subtle, sometimes violently silent, listening situation.

The IKO, a twenty-faced loudspeaker system, is treated not as a sound source but as a spatial instrument, inseparable from its surroundings. This practical demonstration activates the IKO in the space itself, showing how sound can shape, inhabit and reconfigure the rooms around us.

A discussion on the Half Life installation between the artists and archivists. T1/2 is a sound installation built from field recordings of the Semipalatinsk Nuclear Test Site in eastern Kazakhstan, where the Soviet Union conducted over 450 nuclear tests between 1949 and 1989. Captured with hydrophones, geophones and contact microphones, the recordings decay in time with the half-lives of radionuclides still present in the ground.

Taking the ear as an actively anarchic being, in the case of her left ear which holds chronic tinnitus, Lola de la Mata shows how collaborating with her hearing difference led to new approaches in instrument design and embodied performance. Performances with the acoustic Tacet Friction Harp approach hearing through visual and tactile means as well as vibrating air.

Using microphones and biodata sonification devices, participants unearth hidden sounds and resonances in the landscape through deep listening, field recording and sonification. No prior experience is needed and recording devices are provided, but bring a smartphone, headphones and the echoesxyz app, and dress for the weather.

Borders in the arts have always puzzled Jez riley French, and the act of listening itself, he argues, remains too often bordered. Drawing on extended technologies and durational listening to sounds outside human attention, this informal talk treats listening as a constant questioning of perception, convention and faulty histories.

Performed in darkness with blindfolds provided, Francisco López's immersive multi-channel work builds non-representational worlds from sound environments collected across the globe. Rather than presenting soundscapes, the pieces let listeners find their own way through a space defined entirely by sound as a physical force.

Lee Patterson devises performances from amplified objects, devices and processes, from rock and chalk to springs, burning nuts and vibrating metal. Based in Prestwich, he works internationally and has featured on BBC Radios 3, 4 and 6, Resonance FM and radio stations worldwide.

Rubbish Music uses sound to trace the journeys, transformations and impacts of our discarded objects. With an orchestra of rusty bells, dirty oven grills, wine bottles and a squeaky chicken toy, Kate Carr and Iain Chambers examine the worlds we make and destroy through what we throw away.

SignKid is a deaf music producer, writer and performer who has pioneered a visual language that adapts British Sign Language for live hip-hop, rap, dancehall and afrobeat. He has since extended the approach into music video, overlaying rapping and singing onto his distinctive BSL performance.

Founded by Hayley Suviste and Ryan Woods in 2018, The Manchester Ear explores how listening can change our relationship with the places we live. Rooted in acoustic ecology and deep listening, the walk asks a simple question: what happens when we stop and really listen to the place we call home?

An impulse response captures how a space answers back to sound. Matt Barnard's talk explores derelict buildings, lost rooms and recorded voices, asking what happens when a space becomes something to compose with, and when a sound becomes a space in its own right.

Dorkbot is a monthly meeting of artists (sound/image/movement), designers, engineers, students and other interested parties who are involved in the creation of electronic art (in the broadest sense of the term).

Nik Colk Void brings her solo practice to Manchester for the first time, extending ideas from her debut album Bucked Up Space through newly created material. Built around voice, beats, synthesis and a Eurorack modular system, the set is composed in real time, with nothing predetermined and outcomes shaped entirely by the room.

Cymatics is the study of visualising sound, making the invisible visible and revealing the hidden processes of vibration and energy. Mark Wagner presents a talk on the mystical and metaphysical nature of sound, followed by a rare participatory demo featuring a Chladni plate, water cymatics and bubble cymatics.

Robin the Fog and his quartet of Howlround reel-to-reel machines present Cast Your Tape To The Wind, a hybrid of installation, performance and introduction to magnetic tape. A sound-hunting exercise gives way to a whirlwind tape-loop session and an improvised performance - audience participation strongly encouraged!

A launch event for Listening Glossary, a new book from Silver Press that gathers 217 forms of listening described by activists, artists, D/deaf and hard-of-hearing people, ecologists, musicians, philosophers, and researchers. Editor Hannah Kemp-Welch traces six decades of sonic thought, joined by Manchester-based contributors who read and discuss their entries.

Eleven co-researchers' soundscape compositions are shared for the first time as a geolocated digital soundmap across Manchester's Gay Village. Gather at Sackville Gardens for an introduction, then walk the listening points at your own pace before returning to discuss what emerged. Headphones recommended.

Make live foley in response to film clips, creating your own sound effects from pebbles, plastic sheets, sticks, hot water bottles and even celery, all amplified through specialist microphones. Watch a clip, choose your materials and have a go — the event flips the usual relationship between what you see and what you hear.