Orpheus Sounds

What does it mean to slow down in 2026? How could we connect differently with each other and with our environments? In this episode, we speak to Yuri Tuma, sound researcher, listening artist, and director of the Institute for Post Natural Studies in Madrid about why "post nature" works better as an invitation than a definition, and how active listening can be an act of resistance against pressures of productivity and speed. From our shared imaginations of nature to the frictions involved in creating non-hierarchical spaces, we discuss the ways we can experience the world around us in new ways. 
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REFERENCES
Institute for Postnatural Studies - https://www.instituteforpostnaturalstudies.org/
Donna Haraway - Staying with the Trouble: Making Kin in the Chthulucene - https://en.wikipedia.org/wiki/Staying_with_the_Trouble
Tender radio - https://www.instituteforpostnaturalstudies.org/tender-radio
Sonic Worldings Conference - https://orpheusinstituut.be/en/events/odc-2026
Sound Arguments - https://orpheusinstituut.be/en/projects/sound-arguments
Orpheus Sounds is a series of snapshots of Orpheus Instituut, a research center where we explore the making and understanding of music.

https://orpheusinstituut.be 
podcast@orpheusinstituut.be
Made with the support of Wederik de Baecker, Pieter Blomme and Kayo Quintens.

How can we make contact with the sounds and habits of the nineteenth century? In this episode, we speak to Emily Worthington, co-principal investigator of the research cluster Performance and Embodiment at Orpheus Instituut. She tells us about how playing the clarinet can sometimes involve time-travel and what our bodies can teach us about making music and bringing history to life through musical performance. Working with the legacy of the nineteenth century clarinettist Carl Baermann, Emily's work brings us closer to the ways that people lived and listened nearly 200 years ago. 
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REFERENCES
https://orpheusinstituut.be/research/researchers/emily-worthington
https://baermannsbody.york.ac.uk/
Orpheus Sounds is a series of snapshots of Orpheus Instituut, a research center where we explore the making and understanding of music.
https://orpheusinstituut.be
podcast@orpheusinstituut.be
Made with the support of Wederik de Baecker, Pieter Blomme and Kayo Quintens.

On today's episode, we talk to electronic musician and sound artist Hainbach about how to discover amazing sounds in the most unexpected places and from the most unusual sources. Finding the fascination in big dials and knobs and pushing his equipment to the edge of its capabilities (and sometimes beyond), Hainbach introduces us to his site-specific world of exciting new sounds. Join us on a journey to the moon via Berghain and deconsecrated churches. 
Based out of Berlin, Germany, electronic music composer and sound artist Hainbach creates shifting audio landscapes THE WIRE called "One hell of a trip". He has been fascinated with electronic sounds since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on uncommon electronic instruments, tape and test equipment, making even the "unmusical musical".
Through his YouTube channel Hainbach brings experimental music techniques to a wider audience. He is an award winning film composer, and his compositions for ensembles have been featured at Witten, Gaudeamus and Impulsfestival Halle. His music software and hardware is used by musicians world-wide. He tours regularly, and has taught at Humboldt University, Manchester School of Arts, Hybrid Arts Lab Dresden, MRC Copenhagen, among others. 
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REFERENCES
During our conversation, Hainbach mentioned several projects where vintage lab equipments are turned into musical instruments. If that is of interest to you, check out the work of Orpheus' researcher Juan Parra Cancino and his free series of listening sessions:
https://orpheusinstituut.be/en/projects/an-immersive-journey-through-early-electronic-works-of
Also, the mentioned work of Giacinto Scelsi and the Ondioline has been the source of extensive research and musical outputs by Marco Fusi:
https://orpheusinstituut.be/en/publications/giacinto-scelsi
On the life and work of Pauline Oliveros and Deep Listening:
https://paulineoliveros.us/
 
Orpheus Sounds is a series of snapshots of Orpheus Instituut, a research center where we explore the making and understanding of music.
https://orpheusinstituut.be
podcast@orpheusinstituut.be
Made with the support of Wederik de Baecker, Pieter Blomme and Kayo Quintens.

Today, we hear from William Texeira, a cellist specialising in the performance of new music. He gives us insights into his work centred on the world's largest wetlands, the Pantanal region of Brazil and the immediacy of ecological crisis. He has just performed at the COP CMS (Conference of Parties, Conservation of Migratory Species) in Campo Grande, Brazil. Our conversation moves from conventional musical performance and the function of the score to finding a balance between political necessities and the dangers of extractionist approaches while working towards musical and social impact and transformation.
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REFERENCES
https://www.williamteixeira.com/ 
https://www.wetlands.org/blog/the-pantanal-building-a-resilient-future/

https://www.mdpi.com/2071-1050/10/10/3643

https://en.wikipedia.org/wiki/Konstantin_Stanislavski

Orpheus Sounds is a series of snapshots of Orpheus Instituut, a research center where we explore the making and understanding of music.
https://orpheusinstituut.be
podcast@orpheusinstituut.be
Made with the support of Wederik de Baecker, Pieter Blomme and Kayo Quintens.

On today's episode, part two of two, we continue our conversation with Laura Andriani on performing Paganini in a new way. Centuries after Paganini died, our fascination with his presence and impact endures. Precise measurements and musical intuition meet the speculative nature of artistic practice, research in the arts and sciences, and their connections to science fiction - approaching the boundaries of human knowledge and our fascination with the unknown.
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REFERENCES
Laura Andriani: https://orpheusinstituut.be/nl/orpheus-research-centre/onderzoekers/laura-andriani

Il Canone, Paganini's violin: https://www.museidigenova.it/it/guarneri-del-gesu-violino-di-paganini

Life on Mars? 

https://futurism.com/space/nasa-biological-explanations-rover-mars

https://www.nasa.gov/news-release/nasa-says-mars-rover-discovered-potential-biosignature-last-year/

 Orpheus Sounds is a series of snapshots of Orpheus Instituut, a research center where we explore the making and understanding of music.
https://orpheusinstituut.be 
Made with the support of Wederik de Baecker, Pieter Blomme and Kayo Quintens.