From the Discography and Press

A selection of releases and accompanying coverage, documenting work issued under Jasmine Guffond and Jasmina Maschina.

The relationship between sound and technology forms a central thread in contemporary sonic practice, where listening becomes a way to interrogate the invisible infrastructures that shape everyday life. By rendering electromagnetic fields, data streams, and surveillance networks audible, sound art can transform abstract digital processes into felt experience. This approach invites audiences to reconsider what it means to inhabit a world saturated with wireless signals, where the boundaries between public and private space are constantly negotiated through unseen technological architectures.

Berlin has long served as a fertile ground for experimental music and sound art, offering a context where disciplinary boundaries dissolve and new forms of sonic expression emerge. The city’s history of electronic music, its network of artist-run spaces, and its international community of practitioners create conditions for sustained exploration. Within this environment, artists can develop long-form projects that move between concert halls, galleries, and public space, treating each context as a distinct site for listening and intervention.

The act of listening carries political weight when it shifts from passive reception to critical attention. Sonic interventions in public space can reveal the hidden acoustic signatures of surveillance technologies, data collection systems, and algorithmic processes that otherwise operate below the threshold of perception. By making these phenomena audible, sound art opens a space for reflection on how power operates through the management of attention, the organisation of sensory experience, and the design of technological environments.

Working across installation, concert performance, and recorded formats allows an artist to explore how different contexts shape the experience of sound. A gallery installation might invite sustained, embodied listening over an extended duration, while a live performance creates a shared temporal event between performer and audience. Recorded music, by contrast, enters private and domestic spaces, accompanying the rhythms of daily life and creating intimate relationships between listener and sound.

The sonification of data translates numerical information into auditory experience, creating a bridge between abstract systems and sensory perception. When GPS coordinates, Wi-Fi signal strengths, or network traffic become sound, they reveal patterns and rhythms that visual representations might obscure. This process does not simply illustrate data but transforms it, allowing listeners to develop an intuitive relationship with information that might otherwise remain remote and inaccessible.

Field recording and found sound have a long tradition in experimental music, but contemporary practitioners often extend these techniques into the realm of the inaudible. Electromagnetic microphones, software-defined radios, and custom sensors can capture signals that lie outside the range of human hearing, bringing them into the audible spectrum. This expansion of what counts as a sonic environment challenges assumptions about silence, noise, and the boundaries of musical material.

The intersection of memory and sound offers rich territory for artistic exploration, where recorded fragments, archival materials, and synthetic tones can evoke temporal experiences that resist linear progression. Sound unfolds in time, yet it can also suspend time, creating durational spaces that encourage a different kind of attention. Compositions built from layered, slowly evolving textures invite listeners to inhabit a present moment that feels both expansive and grounded.

Collaboration across disciplines enriches sonic practice by bringing different vocabularies, methods, and sensibilities into conversation. Working with choreographers, visual artists, architects, and technologists can reveal unexpected dimensions of sound and open new possibilities for presentation. These exchanges often lead to works that sit between categories, resisting easy classification while drawing strength from the friction between different ways of making and thinking.

The materiality of sound—its capacity to fill space, to resonate in bodies, to decay and transform—remains a source of endless fascination for artists working at the edges of music and installation. Whether generated acoustically, electronically, or through digital processes, sound always exceeds its source, creating relationships between objects, spaces, and listeners that are never entirely predictable. This unpredictability is precisely what keeps the practice vital and open to continual reinvention.