Subterranean Changes

https://parastatal.art

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Subterranean Changes is Parastatal Sound Series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being. https://parastatal.art/sound-series/@subterranean

Aug 10

AI and Technodiversity

In this episode we hear a large excerpt of Moisés Horta Valenzuela’s live performance “Acaso de veras se vive con raíz en la tierra?”. In the interview that follows, Moisés discusses some the ideas behind Semilla AI, the neural audio synthesizer used in the performance. He offers comments on seed casting and algorithmic prediction, technodiversity, and collaborative authorship in response to corporate AI. The performance does not reproduce ancestral practices but places them in critical conversation with contemporary computational methods. Each gesture and transformation becomes a speculative act: listening not only for what is to come, but for how we might remain rooted on Earth. 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰 (Moisés Horta Valenzuela) is an autodidact sound artist, technologist, musician, and researcher from Tijuana, Mexico, currently based in Berlin. His practice spans computer music, generative neural networks for sound synthesis, conversational AI agents, and the history and politics of emerging technologies, approached through a critical lens that bridges ancestral knowledge with contemporary digital culture. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.
Aug 6

Noise Creates Me

Tuce Alba discusses her sound performance Between Heights, presented as part of Subterranean Changes Live Series at Bar Neun, Berlin in July 2025. The ney, traditionally associated with specific images and ideologies, is reimagined—stretched and distorted—its breath fragmented, resynthesized, and transformed into a new form that challenges tradition while remaining rooted in it. A breath becomes vibration, vibration becomes distortion, noise creates me. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.
09/24/2025

ⵜⵉⵍⵉⵙⵜ (Hudud)

Leila Bencharnia discusses her sound performance ⵜⵉⵍⵉⵙⵜ (Hudud), presented as part of Subterranean Changes at DADA Marrakech in April 2025. Her piece unfolds in response to composer Ahmed Essyad’s explorations of oral tradition and rhythmic complexity. Guided by indigenous systems of repetition and polyrhythm, Leila Bencharnia positions sound as a living, moving body—pushing against the confines of oppressive temporal structures. Through cycles and ruptures, she employs rhythm as a dynamic force, uncovering layers of resonance and resistance tied to land and memory. Notes are no longer notes, she explains, but colors, textures, a language between oneself, the land, and the ancestors. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.
08/13/2025

Inkomo

In conversation with Gilles Aubry, Thokozani Mhlambi examines early loudspeaker broadcasting systems in South Africa alongside African genealogies of listening. His research traces the cultural significance of inkomo (cow) and its diverse uses prior to colonialism among Zulu-speaking African communities, offering new perspectives on early listening practices. Drawing on the writings of H.I.E. Dhlomo, Mhlambi proposes that broadcasting technology can be understood as an extension of the traditional use of cow horns to announce news. Original sound work: Inkomo (2025, 14:12) by Thokozani Mhlambi — featuring cow horns played as wind instruments. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.
06/30/2025

Tel un mouflon sur les cimes

M’Barek Bouhchichi reads verses by M’barek Ben Zida (1925-1973), a black peasant poet from Tata, Morocco. By denouncing social and ethnic inequalities, Ben Zida opened up a rich field of socio-aesthetic possibilities. Written in the 1960s-70s and translated here into French, Ben Zida’s verses are presented alongside an electronic soundscape generated with a Serge analog synthesizer from the same period. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.
04/08/2025

Interview with Ahmed Essyad

The Body of Sound: Ahmed Essyad’s Electroacoustic music Interview by Gilles Aubry Ahmed Essyad is a composer born in 1938 in Salé, Morocco. After studying music at the Rabat Conservatory in Morocco, he moved to Paris in 1962, where he became a pupil and then assistant to Max Deutsch. Interested in ethnomusicology, he focuses his research on orality and notation, as well as on musical time and pulsation. His music is a blend of Berber oral tradition, serial writing, Gregorian and modal influences. Between 1972 and 1974, he composed a series of electroacoustic pieces in the Centre Américain studio in Paris. Subterranean Changes is a Parastatal sound series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being.

6 Episodes

Subterranean Changes is Parastatal Sound Series focusing on genealogies of experimental music and sonic engagement beyond western modernism. The goal is to enable new conversations on race and technology through shared listening sessions and critical sound practice. Sound, noise, and the inaudible provide the stuff for a reshaping of the intersections between time, place and being. https://parastatal.art/sound-series/@subterranean

Creator

https://parastatal.art
Years Active

2025 - 2026
Episodes

6
Rating

Clean
Show Website

Subterranean Changes