In this newly commissioned sound collage, poet Belinda Zwahi uses poetry, archive footage and music to explore ancestral practices and nonfilial lineage.

In this dialogue, artist and musician Satch Hoyt and curator Paul Goodwin discuss Hoyt’s ‘Afro-Sonic Mapping’, a sonic and visual research project tracing the migration of rhythms and sounds across the African diaspora.

In this score, the artist duo sssSsssssssss (Ashkan Sepavand and Virgil B/G Taylor) offer a third part to the performance spread (medium) at Nottingham Contemporary exploring study, non-dualist space and the multidimensionality of time.

In this essay, archivist and curator Andrea Zarza Canova explores the creative strategies used by artists working with archival sound recordings and offers a critique of listening practices in institutional archives.

In this sonic interview, artist, choreographer and host Isabel Lewis speaks to Reece Cox about non-linear composition and bridging the mind-body continuum through sound, performance and sensory experience.

In this new commission, visual artist Aura Satz continues her ongoing portraits of listening with percussionist Evelyn Glennie for whom listening is a form of touch engaging all the senses.

In this essay, art historian and writer Amelia Groom discusses artist Terre Thaemlitz’s use of silence as a tool of queer disruption and subcultural protection.

Exploring forms of elemental listening, this sonic statement by writer-in-residence Jota Mombaça, deals with sound as heat and fire as re-de-composition of matter and language.

In this online talk, scholar and vocalist Fumi Okiji discusses the aesthetic sociality of music.

In this operatic interview, artist Lina Lapelytė speaks of how music, musicians and scores enunciate shared forms of being and belonging as they relate to gender and life under capitalism.

In this essay, geographer and radio-amateur Sasha Engelmann, asks what environmental-climatic dynamics and sonic possible worlds travel around the planet through the radio spectrum.

Commissioned by Nottingham Contemporary, this broadcast thinks about music, weather and the atmosphere to re-orient the body-climate continuum.

In this essay, researcher and curator Margarida Mendes discusses how sonic technologies shape ocean knowledge, proposing counter-sonicity as a conservation tactic.

In this essay, performance studies scholar Hypatia Vourloumis, discusses a political ecology of human and non-human assemblages in the sonorous materiality of anticolonial writing.

In this response-in-progress to the poetic sequence ‘Now Let’s Take a Listening Walk’, poet Nisha Ramayya asks how writing can sound, relate, melt, and listen.

In this melodic interview, artist Hajra Waheed dives into ‘Hum’ (2020), a sound installation exploring histories of sonic resistance.

In this essay, artist and researcher Andrew Brooks asks if a sonic politics of solidarity might be heard in the refrain of grief and rage.

In this textual score and sonic work, artist Urok Shirhan reflects on the consequences of the Covid-19 pandemic to public speech and collective voicing.

In the moving image work ‘Death Grip’ (2019), artist Diana Policarpo offers a sonic exploration of a caterpillar fungus species as it folds narratives of healing and economic progress.

In this short essay, historian Jon Curry-Machado explores what might be gained by opening our ears to the sounds of Cuban sugar plantations.

Expanding on the lace-inspired design for Nottingham Contemporary’s Gallery Zero, curator Sandra Moros explores the sonic in Lorenzo Sandoval’s research of Spanish textile industry.

In this sound work, composer and musician Maxwell Sterling offers an audio palimpsest of time and metric composition.

In this podcast, artist and composer Hannah Catherine Jones responds to our current social and political grieving with the healing frequencies of 528 Hz and 432 Hz.

In this sonic offering, artist Tabita Rezaire, listens out for cosmological, scientific and and yogic manifestations of our astral beginnings across various cosmologies.

In this essay, curator and researcher Bhavisha Panchia reflects on the 1932 Cairo Congress of Arab Music to review the Western systematisation of Arabic modes.

The second in a series of audio-essays commissioned to researcher and DJ Syma Tariq that takes Partition as a sonic environment over notions of time and event.

The first in a series of audio-essays commissioned to researcher and DJ Syma Tariq that takes Partition as a sonic environment over notions of time and event.

In this fictional essay by Nottingham Contemporary’s writer in residence, Jota Mombaça considers a global scenario of enclosure, biological surveillance and increased militarisation.

In this essay-as-listening-session, artist and filmmaker Louis Henderson proposes music as a site for solidarity against Margaret Thatcher’s neoliberal and racist police state.

In this interview with visual artist Sung Tieu, curators Cédric Fauq and Damian Lentini discuss Tieu’s sonic research and sculptural practice.

In this video, AUDINT follows a research unit’s member as he crosses the Atlantic in order to gain access to a rare and little understood medical document that could alter the dynamics of communication with otherworldy voices.

In this sound work, Hyperdub founder Steve Goodman (Kode9) explores the concept of unsound following a meme complex around the alleged sonic ‘attacks’ on US Embassies in Cuba and South China.

In this sonic hyperstition, artists Eleni Ikon and Savvas Metaxas unravel the archives of a secret experimental laboratory set up by the Soviet Union to research sonic warfare tactics.

In this broadcast, the entwined histories of radio and protest make audible how the voice of authority has been deployed across North America and Palestine to violent ends.

In this essay, curator Filipa Ramos dwells on the agency of SARS-CoV-2 as a way to envisage a harmonious attunement between the living and non-living forces of our planet.

In this introduction, Sonic Continuum editor and curator Sofia Lemos introduces the themes of strand and imagines how disjointing acts of listening from the ear and its particular arrangement of time might restitute failures to listen.