https://www.aurisfestival.com/programme daily 0.75 2026-09-11 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1780932029.129915-IMJKRJFAHSBPFQAUSTES/imgg-gg3p-BC-DQ-Y-fe58148c.png Programme https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1780932028.789175-SYYFRPMRBHVGYXKFPOIE/imgg-gg3p-BC-DQ-C-9c939cc8.png Programme https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1780932028.996614-UTQBLDRGZFNAGLOVELRR/imgg-gg3p-BC-DQ-Y-0570a11c.png Programme https://www.aurisfestival.com/programme/participatory-strand monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788207115061-DLU3R8V3YV68J75R561Q/dorkbot.jpeg Programme - Participatory Strand, featuring Dorkbot MCR/Paul Lavigne-KMR/Cristiana Palandri - dorkbot is a monthly meeting of artists (sound / image / movement / whatever), designers, engineers, students and other interested parties who are involved in the creation of electronic art (in the broadest sense of the term. https://www.aurisfestival.com/programme/lola-de-la-mata monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/98e0ce95-64d9-48bc-bd67-d6f28aacd1c9/lola+at+barbican.jpg Programme - Lola De La Mata: TAC(I)ET: and implied silence - Taking the ear as an actively anarchic being, one which asserts presence and holds artifacts - in the case of my left ear - chronic tinnitus. Through the performance/talk I will introduce how collaborating with my hearing difference led to new approaches in instrument design, music-making and embodied performance practices. In addition to vibrating air, performances with the acoustic Tacet Friction Harp approach hearing and listening through visual and tactile means without diverging from surround experiences or assembly. The experimental approach draws us into the unknown, sparking a sense of awe, and a (re)discovery of the ear. https://www.aurisfestival.com/programme/kamila-narysheva-vicky-clarke-and-niki-colclough monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1787856227099-TMZCCGUK054NJKRWNH3W/06+horizontal.png Programme - Kamila Narysheva and Vicky Clarke: Post-nuclear + Archives Plus films - T1/2 is a sound installation made from field recordings of the Semipalatinsk Nuclear Test Site in eastern Kazakhstan. Between 1949 and 1989, the Soviet Union conducted over 450 nuclear tests at this site. The land carries that history in its soil and water, in its air and in the remains of Soviet-era architecture. In December 2024, Kamila Narysheva recorded the site using hydrophones, geophones, and contact microphones. She captured sounds from earth, water, architectural remnants, and open air, all below the usual threshold of hearing. Together with Vicky Clarke, she developed an algorithmic patch in MaxMSP and a Max for Live device that deconstructs the recorded material. The patch synchronises the decay of each sound with the half-lives of radionuclides present in the area. Exponential attenuation dictates the rhythm at which sound disappears, measured in millisecond intervals. The installation has no visual component apart from a blue light referencing Cherenkov radiation. Visitors encounter the work through listening alone. Sound was chosen for its physical relationship to the body: it passes through matter, produces reverberation, and activates sensory memory. The Semipalatinsk Test Site exists in a state of ongoing half-life. Radioactive isotopes continue to decay. The land is also recovering. The recorded sounds hold traces of what happened at the site and evidence of ecological return. In this work, decay is also transformation: the dissolution of matter giving way to regeneration. The nuclear trace at Semipalatinsk remains present and active, though invisible. T1/2 makes it audible. The work offers a decolonial perspective, one that recognises the capacity of the landscape to heal itself. https://www.aurisfestival.com/programme/spatial-audio monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788946997810-BCPNET78059Q7R569L9P/AURIS+2026_Spatial+Sound+System_Microcosm.png Programme - Spatial Audio programme - 2026 Auris welcomes a diverse and meticulously curated spatial audio strand delivered on Bernie Steer’s Microcosm sound system. From dark textural landscapes and sonified space weather to diffused poetry and story-based audio pieces, audiences can experience immersive audio art and technology at its finest. The Spatial Audio programme runs as a continuous listening room at Seesaw, open from 10:30am to 6pm across all three festival days. Works play in rotation. Artists in rotation: Brona Martin Text-Sound-Art Miko Tchórzewski Marcus Decker Bernard Kelly Totaleee Horse Lords Nye Parry Cameron Naylor Arconic Sound Scald Jose Macabra Mick Harris https://www.aurisfestival.com/programme/hayley-suviste-ryan-woods monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788947462226-XVBOV20KGSKUOENHPFUC/Hayley+and+Ryan+-+Castlefield_Soundwalk_Images+%28images+courtesy+Beth+Clark%29.jpg Programme - Hayley Suviste & Ryan Woods: THE MANCHESTER EAR - Join The Manchester Ear for a guided soundwalk through Castlefield, listening closely to the area’s layered histories and changing urban landscape. Through mindfulness and deep listening, we will slow down and tune into our surroundings. Moving between the castle ruins, canals, glass buildings and cranes, we will explore how traces of the past, present and future meet through sound. The walk will last around one hour and will end with a relaxed conversation about what we noticed, heard, and experienced. We will meet outside Castlefield Gallery before walking down to the canal, beneath the viaducts, and up onto the viaduct itself to finish. The route is step-free and wheelchair accessible, with some short stretches of cobbled ground. https://www.aurisfestival.com/programme/markus-hetheier monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/e7dd51d1-23a4-48e7-aa6e-521871e5c770/Markus+Hetheier+photographed+by+Norrisette.jpeg Programme - Markus Hetheier: Queer Sonic Geographies MCR - In this soundwalk, the practice-based PhD artworks will be shared for the first time as part of a collective digital soundmap, ahead of the final PhD exhibition at the School of Digital Arts' Modal Gallery in January 2027. Attendees are asked to gather at Sackville Gardens, where Markus Hetheier will give an introduction to the soundwalk. Afterwards, attendees will scan a QR code to start the geolocated digital soundwalk on their phones. Headphones are recommended for an immersive experience. Each listener can make their own way around the Gay Village area, walking towards the different listening points, each of which reveals a soundscape composition by one of the eleven co-researchers. Once all attendees have returned to Sackville Gardens, there will be an opportunity to discuss everyone's experiences: how they were sonically affected, what sonic memories emerged, what narratives were perceived, and what feelings, emotions and thoughts arose. It will also be an opportunity to consider how the different sonic experiences of the soundwalk relate to one another, and what a shared sonic geography of the attendees might sound like. https://www.aurisfestival.com/programme/markwagner monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/7bbf7992-971e-4521-8102-5b7639b79a73/Mark+Wagner+-+cymagick.jpg Programme - Mark Wagner: Cymatics & The Mysticism of Sound - Cymatics is the study of visualising sound through different mediums, thus making the invisible visible and revealing the hidden processes of vibration, energy, nature and Life. Wagner will present a talk on the Mystical and metaphysical nature of sound, vibration and frequency followed by a rare and participatory demo of cymatics including a Chladni plate, water cymatics and the novel and impressive bubble cymatics. https://www.aurisfestival.com/programme/emma-margetson monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/a6b10352-25f9-475b-946c-d2d8ebb20eb2/1C0A9993Edit+V2.jpg Programme - Emma Margetson: Diffuse Architectures - Sound, Space, and the IKO loudspeaker - Rather than considering physical space as a neutral container for sound, this practical demonstration explores space as an active compositional force. Challenging the notion of music as a self-contained object placed within a room, the work proposes a more entangled relationship between sound, architecture, and perception. The IKO - an innovative 20-faced loudspeaker system - is not simply a source of sound but a spatial instrument, inseparably connected to its surroundings. Here, the environment becomes part of the composition itself: dynamic, responsive, and continually transformed through sonic interaction. Experience the IKO loudspeaker activated within the Engine House through a practical demonstration of its distinctive spatial qualities, revealing how sound can move beyond conventional listening experiences to shape, inhabit, and reconfigure the spaces around us. https://www.aurisfestival.com/programme/jez-riley-french monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/9e374175-b3bc-4a6d-a0c1-e32e0926ef0b/JezrileyFrench+%28photo+by+Pheobe+riley+Law%29.JPG Programme - Jez riley French: Choreographies of Perception - Borders in the arts always puzzled me. They still do. Whilst there have been significant developments in the Sound Arts in recent decades, many of which I am fotunate to have been an active part of (as an artist, microphone builder, workshop leader, researcher and curator), the act of listening itself is still too often bordered. Further, whilst historical biases are being addressed, the systems that often created or maintained them remain intact. Taking examples from several projects involving forms of sensing central to my work, such as extended technologies, durational and micro listening to sounds often outside of our (human) attention, in this informal talk I will discuss listening as a constant questioning of perception, conventions, faulty histories and the self. https://www.aurisfestival.com/programme/matt-barnard monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/ae3137fa-2bfe-407c-a384-d37a26193a5b/matt-barnard.JPG Programme - Matt Barnard: Capturing, Playing, Replaying Space - An impulse response is a recording of how a space responds to a source of sonic excitation. Using processing, we can virtually place sounds inside that space, including derelict buildings that are inaccessible and spaces that no longer exist. The result is akin to a photograph: dense with information about a particular space, taken from a particular position. Additionally, it separates from what it represents: the acoustic comes away from the site and can be used on anything by anyone. A reverberant building shapes what gets played in it, and if captured it can become something to compose with rather than an effect applied afterwards. The same technique works on things that were never rooms. Any sound can serve as a space to extrude others through, taking on its shape in the process, at which point the difference between a sound and a space stops being clear. These recordings are also a form of documentation. Acoustic heritage is an established field, though attention tends to follow the buildings already considered significant, and most spaces deteriorate or come down without anyone having recorded them. Sound recording was first proposed as a way to preserve voices rather than sell music, so the preservation instinct was there from the start. A recorded voice is already affecting; placing one in a space adds situation, the space illuminated around it. The talk moves through captured buildings, voices returned to rooms, and spaces played as instruments. https://www.aurisfestival.com/programme/foleynights monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788086744912-GEWNMHO166LTT6N0WWZX/Modus+Arts+-+Foley+Nights+-+Adults+-+Image+4.jpg Programme - Foley Nights - Foley Nights is a participatory event where audience members can make live foley in response to a selection of film clips. You create your own live sound effects using a range of materials, from pebbles and plastic sheets to sticks, hot water bottles, even celery! All amplified through specialist microphones. Watch a film clip, choose your materials and have a go! The event flips the traditional relationship between what you see and hear on screen. In doing so, it encourages attentive listening, sonic curiosity and an understanding of how different materials create different sounds. Foley Nights is delivered by a team of sound arts practitioners at Modus Arts, a sonic arts organisation delivering sound-based projects across the UK. https://www.aurisfestival.com/programme/signkid monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/6f39255e-67ac-474b-8ec8-3ec87309be5a/Signkid+by+Charlie+Swinbourne+LR-9-1.jpg Programme - Signkid - Signkid is the UK’s first and only deaf music producer, writer, and performer to have pioneered and developed a unique aesthetic by integrating and adapting British Sign Language (BSL) signing into a visual language suited specifically for live Hip-Hop, Rap, dancehall, and afrobeat music performance. He has subsequently evolved this approach into music video production by simultaneously overlaying vocal rapping and singing onto his distinctive BSL performance. He has translated British Sign Language and UK sign Slang into a visual-based language for deaf people & hearing individuals wanting to learn sign language. https://www.aurisfestival.com/programme/rubbish-music monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788464096741-URE3WHWVQ3GIUPQX47KD/Kate+%26+Iain.jpeg Programme - Rubbish Music [Kate Carr & Iain Chambers] - Rubbish Music uses sound to investigate the journeys, transformations and impacts of our discarded objects. Using worn-out treasures, empty vessels and broken devices as an orchestra of vivid musique concrète materials, we examine the worlds we make and destroy via our rubbish. From the great rubbish patches in our oceans, to buried land-fill dumps and sophisticated recycling plants, the objects we let go of continue in many guises without us. Through Decay, repurposing and recycling, our everyday objects persist or transform in ways which extend beyond our relationships with them. The journeys discarded items embark upon create new worlds, new niches for species. From the changing habits of animals making the most of our swathes of waste, to the rise of plastic-devouring bacteria, the consequences of throwing away objects can be profound. With our toolkit of rusty bells, dirty oven grills, onion skins, toilet plungers, wine bottles, nasal spray and a squeaky chicken toy, we seek to imagine some of them. https://www.aurisfestival.com/programme/maya-chowdhry monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/c99cc2b5-f867-428b-9328-bc31e581d6b9/Maya+Chowdhry_credit-Shaheda+Choudhury_final+sm.jpg Programme - Maya Chowdhry: Sonic Shadows - Maya Chowdhry leads a creative SoundWalking workshop that sonically excavates Manchester landscapes. Using microphones and biodata sonification devices, you'll uncover hidden sounds and explore the environment's textures, stories, and resonances, creating recordings to develop your own soundwalk or soundscape. https://www.aurisfestival.com/programme/hannah-kemp-welch monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/9e53512d-ac0f-4167-93c0-81be7e5f1923/PROFILE.jpeg Programme - Hannah Kemp-Welch: Listening Glossary - A launch event to celebrate the publication of Listening Glossary, a new book from Silver Press bringing together 217 forms of listening described by activists, artists, D/deaf and hard of hearing people, ecologists, educators, musicians, philosophers, psychologists, researchers and sociologists. Editor Hannah Kemp-Welch traces six decades of sonic thought and experimentation, while Manchester-based contributors, including artist and Auris producer Vicky Clarke and human rights scholar Kay Lalor, read from and discuss their contributions. Listening Glossary explores the many meanings and practices of listening. In an era shaped by climate crisis, war and deepening social inequalities, listening is increasingly called upon to bear witness – to melting glaciers, disappearing species, militarised borders, extractive infrastructures and other forms of violence and loss. This glossary is a practical guide to listening as a social, political and imaginative practice. It gathers over two hundred terms from art, ecology, activism, psychology, education and philosophy across nine decades of thinking about listening as a way of relating to others, environments and structures of power. Entries invite listening through another’s ears or from specific perspectives, encountering forms of listening that range from the non-cochlear to the interspecies. Together, these entries reveal listening as a critical method for understanding and transforming the worlds we inhabit. https://www.aurisfestival.com/programme/wajidyaseen monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788044803302-KMH9G0J909XHDOYZH7CQ/DSC00120.JPG Programme - Wajid Yaseen: Seven Sisters - Seven Sisters is a participatory sound installation that incorporates vintage test-tone wide-range oscillators, which the audience can adjust and manipulate to create square and sine-wave crossings. The installation is an act of listening effectively activated by the listener as they move around it. https://www.aurisfestival.com/programme/kamila-narysheva-vicky-clarke monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1787856227099-TMZCCGUK054NJKRWNH3W/06+horizontal.png Programme - Kamila Narysheva & Vicky Clarke: T1/2 (Half-Life) - T1/2 (Half-Life) T1/2 is a sound installation made from field recordings of the Semipalatinsk Nuclear Test Site in eastern Kazakhstan. Between 1949 and 1989, the Soviet Union conducted over 450 nuclear tests at this site. The land carries that history in its soil and water, in its air and in the remains of Soviet-era architecture. In December 2024, Kamila Narysheva recorded the site using hydrophones, geophones, and contact microphones. She captured sounds from earth, water, architectural remnants, and open air, all below the usual threshold of hearing. Together with Vicky Clarke, she developed an algorithmic patch in MaxMSP and a Max for Live device that deconstructs the recorded material. The patch synchronizes the decay of each sound with the half-lives of radionuclides present in the area. Exponential attenuation dictates the rhythm at which sound disappears, measured in millisecond intervals. The installation has no visual component apart from a blue light referencing Cherenkov radiation. Visitors encounter the work through listening alone. Sound was chosen for its physical relationship to the body: it passes through matter, produces reverberation, and activates sensory memory. The Semipalatinsk Test Site exists in a state of ongoing half-life. Radioactive isotopes continue to decay. The land is also recovering. The recorded sounds hold traces of what happened at the site and evidence of ecological return. In this work, decay is also transformation: the dissolution of matter giving way to regeneration. The nuclear trace at Semipalatinsk remains present and active, though invisible. T1/2 makes it audible. The work offers a decolonial perspective, one that recognises the capacity of the landscape to heal itself. Kamila Narysheva on the Project For a long time, the Polygon existed for me, as it does for many Kazakhs, as a distant place: a concept from school lessons and documentary films. A space of undeniable suffering, a "black mark" in history. Trying to make sense of it, I thought of it as a kind of heterotopia, a place where the past coexists with the present without dissolving into it. Once I arrived there, that thought began to shift. I came to the Polygon expecting to feel fear, the weight of memory, the trace of trauma. In the first days, I was met with silence. The steppe was nearly motionless. The air held no wind, no signs. Only horses grazing among the dry feather grass, the occasional goat crossing the road, hare tracks etched into the ice. The established narrative of the "contaminated land" did not hold. Instead of catastrophe, I encountered a heavy uncertainty. A complex temporality, where past and future fold into each other and produce the present. Together with Vicky Clarke, I began working on T1/2, a sound installation based on field recordings I made in December 2024 using geophones, hydrophones, and contact microphones. I recorded the earth, water, air, and remnants of architecture, things usually beyond the threshold of hearing. We then developed a MaxMSP patch where the sound decays in synchronization with the half-lives of radionuclides present in the Polygon’s soil. This project was a form of presence. Through sound, we tried to approach memory without turning it into a monument. Timothy Morton uses the term hyperobject for phenomena that exceed human scale, that reach beyond any single generation or narrative. The nuclear legacy of the Polygon is one. And yet hyperobjects can be bodily. They are felt in the resistance of the ground, the movement of water, the breath of animals, the static air, the vulnerability of one’s own body. The sound in T1/2 does not explain or comment. It lingers, then disappears. I came to see through this process that the space holds trauma and endurance at once. The places where we recorded were not empty. The stories we encountered were not broken. Life continues there, within complex time. Vicky Clarke on the Project My artistic practice explores the materiality of sound. I have always been drawn to working with recordings on an atomic level, through musique concrète, machine learning, and electronics. This project gave me the chance to think about how sound technologies let us move past habitual perception, uncover hidden sonic structures, and hear stories scattered across time and space. We began with field recordings. We prepared a wide range of microphones and recording techniques because we did not know what sounds we would be able to capture or which locations we would have access to. Flexibility was essential. In the mixing process, we aimed to preserve the character of the place. We developed a Max MSP patch that deconstructed sound materials according to the principle of radionuclide half-life decay at the Polygon. Exponential attenuation dictated the rhythm of sound disappearance in millisecond intervals. Sound connects people to historical events. It adds emotional texture to what might otherwise remain abstract. The history of nuclear contamination requires empathy and understanding alongside archaeological or sociocultural interpretation. This project gave me the opportunity to learn about Kazakhstan, its history, and its landscapes, and to see how much this subject matters beyond any single national context. It was an honour to collaborate with Kamila on this research. https://www.aurisfestival.com/programme/ryoko-akama monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1789057442725-HI6FW06DF1JSCIPENKOP/BSZ-20-1.jpg Programme - Ryoko Akama - shimatsu (始末) - 始末 (shimatsu) definition - beginning + ending, management, dealing settlement, cleaning up, getting rid of (usually bad) end result 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. https://www.aurisfestival.com/programme/robinthefog monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/56990026-ee5c-4fd0-ad0a-a5cc2764fa36/1_Howlround_Taile_Eigeland.jpg Programme - Robin the Fog: Howlround (solo) - Ready for some chaos? Sound Artist Robin The Fog and his quartet of Howlround reel-to-reel machines present ‘Cast Your Tape To The Wind’, a beautifully messy hybrid of sound installation, performance, and an introduction to the wonderful world of working with magnetic tape. It’ll be a brief history lesson, a sound-hunting exercise, and then a whirlwind tape-loop-making session, culminating in an improvised performance where all our handiwork will be put through its paces by the Howlround sound system. Audience participation is strongly encouraged. The results will depend entirely on how cooperative the vintage analogue technology is feeling on the day - but it’s never short of compelling - and where would be the fun it doing it the sensible way? https://www.aurisfestival.com/programme/wetlocker monthly 0.5 2026-09-11 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/0c574715-51ff-4476-9d20-40564783b631/WL-mutualism26%282%29-cred_+Nadine+Oliver.jpg Programme - WEȽ∝KER - WEȽ∝KER (pronounced “wet locker”) present an enhanced quadrophonic live performance for AURIS festival. Stemming from practices and a collaboration developed over years of working together into a new *2026* live-set of highly improvised systems. https://www.aurisfestival.com/programme/lee-patterson monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/04a88f5f-f366-44c5-bd39-97679d0c7fff/Lee+P+in+Samo%27s+hayloft%2C+Bucno+Fest+-+Natasa+Serec.jpg Programme - Lee Patterson - Lee Patterson uses sound-making and recording to devise performances with a selection of amplified objects, devices and processes, from rock, chalk to springs, from burning nuts to vibrating metal. Based in Prestwich, Manchester, UK., he works internationally and has featured on UK TV, BBC Radios 3, 4 and 6, Resonance FM and on radio stations worldwide. https://www.aurisfestival.com/programme/nik-colk-void monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/99b584cd-03d7-4674-a35a-7236d9871b27/Nik+Colk+Void+_01+-+smaller.jpg Programme - Nik Colk Void - For Auris, I bring my solo practice to Manchester for the first time, continuing ideas developed through my debut solo album Bucked Up Space. The record explored the present moment as both a compositional method and a way of performing, embracing responsiveness and the potential for sound to evolve in dialogue with its surroundings. This performance extends that approach through newly created material, with the live environment acting as an active component of the work rather than simply a setting. Drawing on experience performing in small, intimate spaces, I present a high-energy live set where risk and uncertainty sit at the core. Working within this language of now, the performance is built around voice, beats, synthesis, and real-time sample manipulation, with a Eurorack modular system at its centre, approached as an evolving and unpredictable sound source. Rather than reproducing fixed compositions, the set unfolds as a process of creation in the moment. Sounds are generated, transformed, and reassembled through live decision-making, with existing material stretched, fractured, or abandoned as the performance develops. Each performance becomes a unique negotiation between performer, technology, acoustics, and audience, where nothing is predetermined, and outcomes remain open, shaped entirely in real time. https://www.aurisfestival.com/programme/francisco-lopez monthly 0.5 2026-09-10 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/1788053889192-513AI27295NVRAB8IZOD/lopez-2+%28photo+courtesy+of+the+artist%29-1.JPG Programme - Francisco López - Absolute Sonic Creatures - “Draw[ing] the ear from one fascination to the next [...] everything in his sonic frame gleams with pristinely arranged dramatic purpose” (The New York Times). Internationally acclaimed for the intensity, richness and astonishing audio detail of his live immersive performances in the dark, composer / audio-artist Francisco López has been enthralling audiences worldwide for decades with his sonic experiences with multi-channel surround systems and blindfolds provided for the public (that he calls “proudly monomedia”). Created from a myriad of original sound environments, both natural and artificial, collected all over the world, they however do not present soundscapes but rather non-representational virtual worlds of sound (“not virtual reality but real virtuality”) where the listener develops his/her own experience in an environment where the rules and the parameters are defined by the sounds themselves, felt as space and as a physical dynamic force. Renowned for the complexity and intricacy of these worlds of sonic virtuality, López works with sound as a ‘medium’ for a transcendental experience open to individual exploration: this is one-of-a-kind experience not to be missed! https://www.aurisfestival.com/contact daily 0.75 2026-07-09 https://www.aurisfestival.com/privacy-cookies daily 0.75 2026-07-10 https://www.aurisfestival.com/ticket-booking-terms daily 0.75 2026-07-10 https://www.aurisfestival.com/accessibility-statement daily 0.75 2026-07-10 https://www.aurisfestival.com/code-of-conduct daily 0.75 2026-06-25 https://www.aurisfestival.com/faq daily 0.75 2026-08-28 https://www.aurisfestival.com/home daily 1.0 2026-09-09 https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/60b5ed0e-fadc-4d24-aab3-d5accdc2fbdb/1_Howlround_Taile_Eigeland.jpg Home https://images.squarespace-cdn.com/content/v1/6a3aea6fa703ca46c9de4333/a6b10352-25f9-475b-946c-d2d8ebb20eb2/1C0A9993Edit+V2.jpg Home 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