With Gabriel Villota

According to Bruce Chatwin, the aborigines would leave a record of their journeys on foot through their songs: when these songs were sung, not only was there a mnemonic resource activated which facilitated the interpretation of a sound map, but likewise the sound of the song itself, from the voices and stories, turned material. The cities in which we live are saturated with noise: this saturation precludes listening, something for which silence is required. And that silence is produced away from the city centre, in places far away from power and capital.

This programme commences from the crossover of both ideas: the pursuit of the silence necessary to listen to the sound of the voice, on the one hand, and the observation of the body and its sound when moving, on the other, as a necessary support for the voice.

Gabriel Villota Toyos (Bilbao, 1964). DPhD in Audiovisual Communication and professor at the University of the Basque Country, where he was director of cultural programming, he has worked since the early 90s in various activities in relation to the sound and visual arts. His works have been published in numerous specialist magazines, catalogues and books. He recently curated the “Displaced bodies” and “Displaced bodies II” cycles on performance, dance and film at the Reina Sofía Museum (Madrid) and Azkuna Zentroa (Bilbao).

Episode #01. Tuesday 24th September, 6:00pm - 7:00pm: 'Los trazos de la canción (el paisaje construido por la voz)'

From the image of those maps generated by the song, as it appears in the book by Bruce Chatwin, and also following the long journeys of homo sapiens in their first intercontinental movements by the hand of the texts of the generator and anthropologist Luigi Cavalli -Sforza, we will talk with Professor Carmen Pardo (University of Girona) about these and other issues.




In this ocasion, Diego and Elisa approach the present series boom, on purpose of the ongoing outcome of Game of Thrones. What series are interested in the telephile and the critic and why? What does the phenomenon of the story that we intend to bestow on our own day-to-day life say? Are today's TV series really comparable to the best literature and the best cinema? Do they represent such valuable fictional models as cultural and even politicians make us believe?


Interview with Concepción Cascajosa:

Saborear o zampar series de televisión, by Elena Neira:

Interview with Jaron Lanier:


 What would Barbarella do?’, in this sonic space Arrate Hidalgo dissects the key topics on current feminism through science fiction. With scalpel in hand, she takes a speculative text and extracts the debate to look for its mutations in other fiction styles and in contemporary feminist thought. She is accompanied by the critic Laura Lazcano in her section dedicated to audiovisual.

Episode No. 4. Radioactive Test Tubes

How many of us are able to name a female scientist other than Marie Curie? Where are the female doctors Frankenstein, Jekyll, or Strangelove? Were they forgotten like so many other women, erased from the history of science by their male colleagues, husbands, or mentors? In this episode we will be delving into the genealogy of family scientists who inhabit the speculative gender and their different relations with patriarchal society from Western science, with special emphasis on the novel Life, by Gwyneth Jones. On an audiovisual level, Laura Lazcano will review the figure of the female scientist in the 1950s B films and her progression in current films. Throughout this review we will be using as backup the essay by S. García Dauder and Eulalia Pérez Sedeño entitled The ‘Scientific Lies’ about Women, together with our special guest, the Mexican authoress Gabriela Damián Miravete, winner of the 2018 Tiptree Award with her story They will dream in the garden.

Como la vida misma - Gwyneth Jones (t. Aitor Solar y Omar El-Kashef)
Las “mentiras” científicas sobre las mujeres - S. García Dauder y Eulalia Pérez Sedeño
“La tarde y la mañana y la noche” (in Hija de sangre y otros relatos) - Octavia Butler (t. Arrate Hidalgo)
“The potter of bones” - Eleanor Arnason
“Soñarán en el jardín” - Gabriela Damián Miravete

Films and TV shows
Cohete K-1 (1950, Kurt Neumann)
Surgió del fondo del mar (1955, Robert Gordon)
Tarantula (1955, Jack Arnold)
La humanidad en peligro (1954, Gordon Douglas)
Contact (1997, Robert Zemeckis)
Interstellar (2014, Christopher Nolan)
Aniquilación (2018, Alex Garland)

Dígito binario dudoso - Hidrogenesse
Sally Ride - Janelle Monáe
Emily - Joanna Newsom
Berta multiplicada - Christina Rosenvinge
Weird science - Oingo Boingo


consonni, Az resident collective since 2018, presents the station ‘consonni radio with Az’, to use radio listening as an experimentation tool. This station has a podcast programme to divulge critical culture. Run by radio professionals, they experiment with formats such as cultural radio magazines, sound rehearsal, and radio fiction besides researching the various possibilities of podcasts.

#02 Loop Regeneration

This programme explores the idea of looping, sequence and appropriation. To do this, we have Mursego's reflections on her creative process and Agnes Pe’s visions of appropriation, ending up with a part of experimentation conducted jointly with Sara Pë.



‘Cerca del cielo no se vive bien. Historias del éter’, presented by Xabier Erkizia, is another programme which consonni presents. It is a radio programme about the radio, and a proposal which reviews, through several characters of the twentieth century, not only the forms this medium has evolved into since its beginnings, but also the forms it could have turned into. It is also a forensic analysis of a means of communication which, in addition to proposing a new world model, has radically changed the way of understanding the body. In conclusion, a series of stories of the ether, written from the site.

Xabier Erkizia (Lesaka, 1975) is a sound artist, producer and curator. All his works are based on phenomenology in the context of sound and listening, and are developed through formal, aesthetic or political research, paying special attention to the geographical condition. He works or has worked as a co-director of the ERTZ (1999-2018) event and as sound department coordinator of the Arteleku Centre (2002-2014). He is the founder of the sound archive of the Basque Country soinumapa.net and is currently a member of the AUDIOLAB association. During the last few years he has been working as an invited professor in various schools and universities.

#04 Listening to war can cause deafness Armand Robin (1912-1961)

The innumerable sound conflicts which occurred during World War II are largely to blame for our contemporary ways of listening. Loudspeakers, radios, sonic cannons or sonic strategies used to generate fear, are part of our so-called peaceful day-to-day, although they were originally powerful sonic weapons capable of questioning the world. A war needs hearers and listeners, hunters and prey, but it also needs sentries capable of understanding the horror hidden behind the walls of noise. Armand Robin, a poet, essayist and translator, but above all an expert in false words, was one of them.