"Noise Is Louder Than Words" is a sonic and visual defiance project in response to a world shaped politically by forces beyond individual and community control.
Brain and body sculpting frequencies are used to break down internalised conformity and compliance, and glitch postinternet visuals to reset and reconfigure perception.
The project seeks to reignite underground DIY culture, reminding audiences that creativity, community and unity exists beyond systems of control.
“Dhangsha” (Bengali for ‘destruction’) is the project and alias of electronic artist Aniruddha Das. Working at the interface of bass culture and experimental noise, he explores minimalism,
repetition and fragmentation, instigating turbulent interactions between metered rhythm and abstract noise.
His sparse but heavy beats underpin alien call and response motifs with the entire mix subjected to extreme distortions. The resultant tracks have been described as “Harsh Bass” or “Industrial Dancehall.”
In his workshop, Dhangsha demonstrates his improvisational workflow with hardware equipment, particularly the “Elektron Digitakt” sampler/sequencer and processes such as “parallel distortion” whereby rhythms are fed through various effects such as the “Erica Synths Acidbox” to create unusual textures, including the sound of broken speakers. Participants are invited to manipulate gear and live remix Dhangsha’s tracks - bring along your own effects boxes or pedals and insert in to the system to see how these interact or impact on the sound.
Internal Object is a solo noise, ambient, electro-acoustic project.
Internal Object has a B.S.c and M.S.c in Cognitive Neuroscience and uses this training and background to create psychologically uneasy atmospheres from DIY synths, pedals and an alto saxophone.
Internal Object hosts a radio show of punk, metal and neuroscience from Threads radio. Internal object is also part of DIY events GATE (Gather All The Electronics) and
Internal Object Presents. They are releasing a self-titled EP as the front man of
hardcore punk band Rotten Luck.
Internal Object has a solo EP ‘didyourevileyeseverlookintomine’ with Whipped Bound
Records and a recent collaboration release with Jena Jang on Suram Fortress label. They perform mainly in London’s DIY and underground scene but have also toured in Asia and Europe.
Internal Object presents a three-part seminar exploring the relationship between the human brain and the power of music.
Part One: Memory, Music, and the Self – Discover how musical memories form the backbone of self-identity and why certain songs become permanent landmarks in our personal narratives.
Part Two: The Emotional Regulator – An exploration of how music influences our neurobiology to regulate mood and a discussion into the nature of human emotion.
Part Three: The Social Bond – From maternal instinct to global communities, learn how music facilitates essential social connections and strengthens our collective ties.
Presented in an engaging, conversational format, these seminars translate complex research into easy-to-understand insights suitable for curious minds of all backgrounds.
Image: Downtown Contemporary Arts Festival, Cairo, Egypt 2024
Jena Jang (Yeaeun Jang) is a Korean experimental musician, performer, and DIY instrument builder based in Prague and Seoul. The practice combines noise, improvised vocals, and self-built electronics into bodydriven performances exploring emotional release, transformation, and the connection between human and non-human worlds.
Centred on the concept of “Necrocore”, the work channels raw energy and vulnerability to create immersive situations where sound, movement, and technology interact. Using hand soldered, batterypowered circuits and open-source synthesisers, the projects experiment with circuit bending, hybrid acoustic–electronic setups, and unconventional sound objects. The ongoing Tupperware Synthesiser series reimagines childhood nostalgia through hacked lunchbox instruments, while the Hairdryer Performance transforms domestic memories into sonic rituals of care and intensity.
Since childhood, many of us have felt that words alone aren’t enough to express everything inside us. So we laughed, cried, sang—and sometimes screamed.
Participants are invited to explore their bodies and voices as unique instruments of artistic expression. Through a variety of guided exercises, you’ll be encouraged to complete tasks that help you discover your own unique instrument—your voice and body sounds. You’ll learn to use your voice like a time machine, revisiting childhood memories or significant emotional moments, using sound as a form of time travel. A key focus of the workshop is to break away from conventional vocal habits, practices, and biases, including singing lyrics in spoken language. Instead, you’ll be encouraged to create improvised vocal stories using the sounds you uncover—expressing raw emotions, releasing mental or emotional blockages, and exploring your voice in creative, unconventional ways.
Participants will have the opportunity to share short solo improvisations and also work in small and large groups, exploring how their voices can blend and interact with others. This process not only fosters collective expression but also opens up the potential for vocal exploration as a form of sound healing.
No background in music, performance, or vocal training is required. The workshop is open to anyone curious about unlocking their voice and exploring new dimensions of artistic expression.
humansfan is a visual artist working with digital debris and accelerated collapse. The practice turns low-resolution fragments and unstable screenshots, along with mirrored surfaces, into dense projection environments that behave like shifting weather inside a noise set. Each visual field studies how images fracture under contemporary pressure and how glass dissolves into sand once it enters circulation within the contemporary platform economy.
Using consumer tools and rapid iterative methods, humansfan builds atmospheres rather than fixed compositions. Textures drift causing surfaces to erode with 'signals' breaking apart in ways that unsettle the relation between viewer and environment. The screen itself becomes a pressure chamber where form disperses into particulate motion and where visual meaning appears only as a temporary arrangement within an ever-dissolving visual architecture.
