Sonic Acts

Sonic Acts is an interdisciplinary arts organisation focused on the research, development, and production of work at the intersection of art, science, and theory. It serves as a platform for international projects, artistic research, and the commissioning and co-production of new artworks, often working in collaboration with local and international partner organisations, including cultural incubators, universities, and art festivals.

Founded in 1994 to present developments in electronic and digital art forms, Sonic Acts has developed a programme that includes public events, residencies, and commissions, as well as newer initiatives such as the magazine ''Ecoes'', published by Sonic Acts Press.

The Sonic Acts Biennial (formerly festival) explores contemporary and historical developments at the intersections of art, technology, music, and science. It has programmed artists and musicians such as Autechre, Pauline Oliveros, Florian Hecker, Maryanne Amacher, Catherine Christer Hennix, Annea Lockwood, Hildegard Westerkamp, Hildur Guðnadóttir, Ellen Fullman, Keith Fullerton Whitman, Colin Stetson, Kodwo Eshun and The Otolith Group, Peter Kubelka, Stephen O'Malley, The Bug, Chris Watson, Fennesz, Speedy J, Lillian Schwartz, Carl Michael von Hausswolff, Ken Jacobs, Mika Vainio, and Peter Rehberg (Pita).

It has also hosted theorists and researchers such as Astrida Neimanis, Siegfried Zielinski, Eyal Weizman, Denise Ferreira da Silva, Elizabeth A. Povinelli, Rosi Braidotti, Susan Schuppli, T. J. Demos, Nabil Ahmed, Heather Davis, Wendy Hui Kyong Chun, Tony Cokes, and Jennifer Gabrys. Each edition centres on a curatorial theme and includes an international conference, performances, exhibitions, and screenings across multiple venues.

Sonic Acts Biennial

In 2022, Sonic Acts transitioned from an annual festival format to a biennial structure, taking place every two years. The Sonic Acts Biennial now unfolds over two months across February and March in Amsterdam. Each edition features approximately 80 events and gatherings designed to support long-form research, artistic production, and public engagement. The condensed festival weekend remains a core component of the programme.

Originally established as a four-day event, Sonic Acts has evolved into a platform for the research, development, and presentation of work at the intersections of art, science, music, and technology. The Biennial’s programme includes concerts, an international conference, film screenings, exhibitions, masterclasses, workshops, and site-specific works.

Early years (1994–1998)

Sonic Acts was founded in 1994 by Paradiso and the ArtScience Interfaculty (Royal Academy of Art, The Hague, and Royal Conservatory of The Hague) to provide a stage for new developments in electronic music and interdisciplinary art forms. The festival was initially organised yearly in Paradiso, a music venue that had become synonymous with counterculture. In the early years of Sonic Acts, increasing attention was given to demonstrations and workshops, as the festival broadened in scope to focus on the theoretical as well as the practical aspects of artistic development.

In 1995, Sonic Acts began to introduce new forms of electronic music, such as IDM and electro, as the festival featured performances by English electronic musician Mike Paradinas and ambient techno duo Plaid, among others. In the following years, the festival continued to present new genres of electronic music that were emerging in the early 1990s, with performances by acts including Robin Rimbaud and English IDM duo Autechre.

Turn of the century (1999–2009)

The festival was held in August each year until 1999, when it took place from 20 to 23 December. This year also marked the enlargement of the festival, with a four-hour boat trip along the IJ to various indoor and outdoor locations in addition to Paradiso. For the first time, the festival had a connecting theme, as participating artists took the music of Italian composer Claudio Monteverdi as a starting point for their work. Since 2001 each edition of the festival has been named after its theme.

In the early to mid-2000s, Sonic Acts shifted its focus to digital arts and their historical contexts. Under the name ''Sonic Light'', the ninth edition of Sonic Acts was devoted to the art of composed light: "the shaping in time of light and colour in a way which is comparable to the way sound is shaped into music". The festival featured projections by the late German-American filmmaker Oskar Fischinger and Japanese artist Yasunao Tone, as well as Dutch artist Joost Rekveld, who presented a history of abstract animation and light art. ''Sonic Light'' also featured American composer Maryanne Amacher, avant-garde musician Francisco López, Japanese composer Ikue Mori and Canadian electronic musician Venetian Snares.

In 2004, Sonic Acts held its tenth edition. Titled ''Unsorted'', the festival explored emerging art forms that were rooted in the information society. Particular attention was paid to artists from the labels Raster-Noton and Touch, as well as the breakcore scene. Performing artists included Carl Michael von Hausswolff, Jon Wozencroft, Philip Jeck, BJ Nilsen, Fennesz, Chris Watson and Sickboy.
The exhibition showcased the work of artists such as Driessens & Verstappen (Erwin Driessens and Maria Verstappen), Lia, and JODI (Joan Heemskerk and Dirk Paesmans), who are widely credited with shaping early internet art in the 1990s.

The following edition, titled ''The Anthology of Computer Art'', was held from 23 to 26 February 2006 in Paradiso and De Balie. It focused on the history of computer art and described itself as "a tribute to the work of the early pioneers". There was a keynote by curator Jasia Reichardt, known for organising the exhibition ''Cybernetic Serendipity'' (1968), talks by Frieder Nake, Lillian Schwartz, and Curtis Roads, a presentation by interactive artist Golan Levin, and an audiovisual performance by the Austrian collective Granular Synthesis.

Between 2006 and 2009, the link between art, science, and technology was further developed, and the symposium grew. In 2008, the twelfth edition of the festival explored the theme of ''The Cinematic Experience'', addressing how "recent technological developments in digitalisation, higher definition imagery and sound, ever-faster communication networks and new types of portable video players make it necessary to re-address the question of what cinema actually is." This edition featured Signal — the trio consisting of Frank Bretschneider, Carsten Nicolai, and Raster-Noton founder Olaf Bender — as well as Ken Jacobs, Erkki Huhtamo, and Hildur Guðnadóttir.

Recent years (2010–2020)

From 2010, Sonic Acts expanded its activities beyond the festival format, engaging in international collaborations and initiating large-scale projects such as the Kontraste festival in Austria and the international research project Dark Ecology. These initiatives contributed to the development of new commissions, workshops, masterclasses, lectures, and publications, which became integrated into the broader programme. During this period, the organisation also began addressing wider thematic frameworks.

The title of the 2010 edition, ''The Poetics of Space'', was derived from the English translation of '' La Poétique de l'Espace'' (1958), a book by the French philosopher Gaston Bachelard. The programme included a tribute to Maryanne Amacher, who passed away in 2009. There were talks by theorist Brandon LaBelle, acoustic ecology composer Barry Truax and Hildegard Westerkamp, who spoke on the subject of soundwalks. The programme also featured work by architectural studio Diller + Scofidio, among others.

The 2012 edition of the festival, titled ''Travelling Time'', explored the perception and manipulation of time in art, science, and sound, and was described as "an intense experience of time." The programme included an opening lecture by George Dyson, the multi-projector film installation ''Shutter Interface'' by Paul Sharits, a performance by Catherine Christer Hennix and The Chora(s)san Time-Court Mirage, and a presentation of the Long String Instrument by Ellen Fullman.

In 2013, the Sonic Acts festival focused on themes drawn from cosmology and theoretical physics under the title ''The Dark Universe''. The programme included lectures by physicist and Nobel laureate Gerard 't Hooft, sociologist Saskia Sassen, and architect Keller Easterling, along with presentations of new works by artists Matthijs Munnik, Yamila Ríos, and Joris Strijbos.

By 2015, the focus of the Sonic Acts festival shifted downward, towards the Earth, with the edition titled ''The Geologic Imagination'', which examined the Anthropocene and the impact of human activity on planetary systems. Framed by the idea that humanity is living in a new geological epoch, the programme addressed concepts such as deep time, material agency, and geoaesthetics through a transdisciplinary lens. It featured lectures by philosopher Graham Harman and design theorist Benjamin H. Bratton, masterclasses by composer Goodiepal and video artists Steina and Woody Vasulka, and newly commissioned work by artists including Raviv Ganchrow and Jananne Al-Ani. The festival attracted nearly 9500 visitors.

In 2017, Sonic Acts continued its gradual shift in perspective, exploring what it means to be human against the backdrop of the Anthropocene and the rapidly changing relationship between humans and machines. ''The Noise of Being'' festival was visited by 10,625 people. Participating artists and speakers included Eyal Weizman, JK Flesh, Roly Porter, Kara-Lis Coverdale, Jennifer Walshe, Le1f, Evian Christ and Christina Vantzou. The opening night featured four new Vertical Cinema films by Susan Schuppli, HC Gilje, Lukas Marxt, and BJ Nilsen & Karl Lemieux. ''The Noise of Being'' received positive reviews. The Wire Magazine described the festival as "triggering the imagination necessary for an urgent debate".
Crack Magazine wrote that the event "kept its audience shifting, rotating, and reversing around the normalised ideas we all share".

In 2019, the Sonic Acts festival marked its 25th anniversary under the theme ''HEREAFTER'', addressing pressing global crises and challenges. The programme critically considered the interconnected impacts of colonialism, climate change, labour exploitation, and technological advancement, reflecting on the deep-seated inequalities and environmental degradation they have caused. ''HEREAFTER'' hosted more than 120 artists and speakers, including Beatriz Ferreyra, Christina Kubisch, Áine O’Dwyer, Cyprien Gaillard, Timothy Morton, Rosi Braidotti, Jodi Dean, Tony Cokes, and Ulrike Ottinger.

Sonic Acts Biennial (2022–present)

In 2022, Sonic Acts shifted from an annual festival to a two-month-long biennial format, enabling a broader and more sustained engagement with contemporary issues. The first Sonc Acts Biennial focused on ecological and technological crises, examining the relationships between humans, nature, and machines.

The exhibition programme, hosted at W139 under the title ''one sun after another'', was described by ''Metropolis M'' journalist Sanneke Huisman as a response to ecological emergency, featuring "urgent works that raise questions about ownership (who owns nature?), life forms (what is the position of non-human life?), and the role of humans in a changing world."
The Biennial attracted approximately 20,000 visitors and featured performances, installations, and discussions by artists including Raven Chacon, Félicia Atkinson, Kali Malone, Aura Satz, Sarah Davachi, Stephen O’Malley, Tarek Atoui, Tomoko Sauvage, Debit, Jessica Ekomane, Lucky Dragons, Samson Young, Julian Charrière, and Mary Maggic.

In 2024, Sonic Acts marked its 30th anniversary with a Biennial titled ''Under the Spell of the Sensuous'', referencing David Abram’s 1996 book ''The Spell of the Sensuous: Perception and Language in a More-Than-Human World''. Published around the time of Sonic Acts’ founding, the book raises questions about perception, language, and our relationship with the environment and other species. The Biennial featured artists and speakers including Charlemagne Palestine, Astrida Neimanis, KMRU, ZULI, Dis Fig, Tarek Atoui, Aho Ssan, Denise Ferreira da Silva and Arjuna Neuman, Susan Schuppli, Elvia Wilk, Natasha Tontey, Jota Mombaça, and Kassel Jaeger.

The 2024 edition also introduced the ''Listening Room'', an 8.2-channel sound installation for focused listening, hosted at Zone2Source in Amstelpark. The installation featured works by Annea Lockwood, Keith Fullerton Whitman, Beatriz Ferreyra, Iannis Xenakis, Flora Yin Wong, and Jim O'Rourke. Writing about the experience, journalist Anton Spice noted: " ��at Zone2Source, you are reminded more of just how porous these boundaries are ..It was a rare moment where I felt like I could put both my body and my mind to rest and just let the listening take over."

Evolution and growth

Sonic Acts has grown into an organisation that is active throughout the year, producing and presenting work both in the Netherlands and abroad. Significant projects include the three-year art, research and commissioning project Dark Ecology, which predominantly took place in the Arctic region, and its globally touring film programme Vertical Cinema. Sonic Acts has developed into a hub for an international network of artists, curators and specialists, focusing on future developments as well as the rich histories of art, science and technology.

Since 2001, Sonic Acts has produced printed matter in the form of festival readers. This initiative has expanded into the press, which publishes ''Ecoes'' magazines and artist books, as well as a record label that serves as a repository for sound works, compositions, and live recordings.

The organisation also offers residencies, including Overexposed, where participants engage in artistic research at the intersection of aesthetics, historical materiality, and politics, and ALTERLIFE, in collaboration with Rupert in Vilnius, Lithuania. Additionally, Sonic Acts runs Underexposed, an online mentorship and training programme designed to support emerging artists at the start of their careers.

Projects

Vertical Cinema

Commissioned in 2013, Vertical Cinema is a series of ten commissioned large-scale, site-specific works by experimental filmmakers and audiovisual artists such as Joost Rekveld, Rosa Menkman, Makino Takashi, and Billy Roisz. Presented on 35mm film and projected vertically using a custom-built projector in vertical cinemascope, the 90-minute programme challenges the dominance of the horizontal screen by rotating it lengthwise, echoing the format of smartphones while reimagining the architecture of cinema itself. While previous innovations in film focused on colour, 3D, and IMAX, Vertical Cinema explores orientation as a potential next shift.

The project premiered at the Kontraste Festival (''Dark As Light'') in 2013 and had its Dutch debut at the International Film Festival Rotterdam in January 2014. Later that year, Vertical Cinema was presented at the Stedelijk Museum in Amsterdam, accompanied by an expanded programme of films and lectures featuring Philippe-Alain Michaud, Noam Elcott, Erica Balsom, and Bart Rutten.

In 2015, Vertical Cinema was featured at international festivals including the Glasgow Short Film Festival, SXSW in Austin, the STRP Biennial in Eindhoven, the Melbourne International Film Festival (MIFF), and Baltā Nakts in Riga. The project continued to tour, appearing at GEGENkino in Leipzig in 2016 and returning to Amsterdam in 2017 with four new commissioned works for the Sonic Acts Festival: ''The Noise of Being''.

In 2024, Vertical Cinema experienced a revival with the exhibition ''Shifting Perspectives: Vertical Cinema'' at the Academy Museum of Motion Pictures in Los Angeles. To mark its tenth anniversary, the programme also toured to the Scanorama Film Festival in Lithuania.

Dark Ecology

Dark Ecology was a three-year art and research project that unfolded across the borderlands of Norway and Russia, initiated by Sonic Acts in collaboration with Kirkenes-based curator Hilde Methi and a network of partners. The project was inspired by philosopher Timothy Morton's concept of a "dark ecology" – which confronts the entanglement of all things, from iron ore to snowflakes. Morton’s formulation emphasises that ecological awareness is not necessarily light, pure, or idyllic, but rather murky and unsettling.

Spanning from 2014 to 2016 ''Dark Ecology'' encompassed newly commissioned works, site-responsive events, field research, and a publication – the book ''Living Earth''. Events took place in both Norway and Russia, weaving together remote industrial landscapes, philosophical inquiry, and experimental artistic practices, bringing together artists, theorists, and local communities in a multifaceted public programme.

There were lectures by thinkers such as Heather Davis, Susan Schuppli, and Morton himself; new commissions by filmmaker Karl Lemieux and sound artist B. J. Nilsen; guided soundwalks by Justin Bennett; a composition by Jana Winderen; performances, discursive sessions, and a workshop led by Franz Pomassl.

Kontraste

Kontraste, a music and art festival in and around Krems an der Donau, Austria, was curated by Sonic Acts in 2011, 2012 and 2013. Kontraste presented sonic and audiovisual experiments, contemporary music and related art forms in a thematic, historical and interdisciplinary context. The programme offered unconventional concerts, live performances, installations, lectures, screenings and presentations.

In October 2011, the inaugural edition of the Kontraste Festival took place, with the thematic focus ''Imaginary Landscapes'' – a reference to John Cage’s early electroacoustic compositions. Exploring the ways in which sound and light might evoke non-physical environments, the event brought together artists working across experimental media. Among the contributors were Edwin van der Heide, Anthony McCall, and Gert-Jan Prins. A commissioned light design by HC Gilje accompanied all Acousmonium presentations in the Minoritenkirche, transforming the medieval church into a spatially immersive environment.

In 2012, ''Electric Shadows'' focused on the electromagnetic spectrum through films, lectures, soundwalks, and performances. Participants included Bruce McClure, Makino Takashi, Ivana Franke, Justin Bennett, and Simon Ings. Concurrently, Kunsthalle Krems hosted a Francis Picabia retrospective, linking early 20th-century avant-garde with contemporary media art.

The 2013 edition, ''Dark As Light'', incorporated the world premiere of Vertical Cinema – a series of ten 35mm films projected vertically on a custom-built screen, challenging traditional cinematic formats. The programme also included performances such as ''Spire'', combining church organ and electronics, and installations like Franz Pomassl’s ''Volume'' and Finnbogi Pétursson’s ''OFF – 3Hz''. Artists such as Morton Subotnick, Thomas Ankersmit, Phill Niblock, and Catherine Christer Hennix with The Chora(s)san Time–Court Mirage were part of the line-up.

Murmansk Prospekt

Initiated in 2019 and concluding in 2020, Murmansk Prospekt was a collaboration between Sonic Acts and Fridaymilk, a nomadic curatorial duo, that examined how artistic and speculative research could engage with underrepresented histories and identities. The project focused on supporting younger generations in Murmansk to reconsider their urban environment and explore identity through digital arts. It comprised three research labs that facilitated collaboration between emerging artists and researchers from the Netherlands and Russia, and concluded with commissioned works, public presentations in Murmansk and Amsterdam, and the launch of an online platform.

Participating artists included Sergey Kostyrko, Andreas Kühne, Polina Medvedeva, and Gleb Glonti. Two vinyl records were released in connection with the project: Kostyrko's ''Settlers'' (INVERSIA002), based on field recordings and data-driven compositional techniques, and Kühne's debut solo album, ''Transients I/O'' (INVERSIA001), which incorporates site-specific improvisation and electroacoustic approaches.

Sonic Acts Academy

Sonic Acts Academy (2016–2020) was a recurring three-day event in Amsterdam, distinct from the main Sonic Acts Festival due to its compact scale and focus on research-led artistic practices. Hosted across venues such as Paradiso, De Brakke Grond, Stedelijk Museum, and OT301, it served as a platform for live cinema, experimental performance, installation, and critical discussion. Emphasising emerging perspectives and practice-based inquiry, the Academy addressed artistic and theoretical responses to contemporary global issues.

The first iteration in 2016 featured artists such as Okkyung Lee, Anton Kats, and M.E.S.H. In 2018, the event presented work by Dreamcrusher, Christina Kubisch, and Jennifer Walshe. The final gathering in 2020 brought together Holly Herndon, No Bra, T. J. Demos, and Elizabeth A. Povinelli, among others.

Re-Imagine Europe

In May 2017, Sonic Acts, together with ten international partners, initiated Re-Imagine Europe, a four-year project (2017–2021) responding to the social and political challenges facing the continent. Co-funded by the Creative Europe Programme of the European Union, the project encompassed artistic residencies, commissions, workshops, and symposia. It was initiated by Sonic Acts, coordinated by Paradiso, and developed in collaboration with Elevate Festival, Lighthouse, INA GRM, KONTEJNER, Bergen Kunsthall, A4, Disruption Network Lab, and Ràdio Web MACBA.

In February 2023, Re-Imagine Europe received renewed support for its second edition, New Perspectives for Action (2023–2027), a programme designed to equip and empower young Europeans through artistic practices in the face of accelerating climate change. The project brings together fourteen cultural organisations: Paradiso, Sonic Acts, Elevate Festival, INA GRM, A4, Borealis, KONTEJNER, BEK, Rupert, Disruption Network Lab, Semibreve, Parco Arte Vivente, Kontrapunkt, and Ràdio Web MACBA.

Soundsweird

Soundsweird.org was the result of a two-year collaborative educational project, Sound Experiments – New Approaches to Non-Formal Music Learning, by three European organisations active in the fields of experimental music and sound art, as well as youth education. Developed in collaboration with Sonic Acts, KONTEJNER and A4 affiliated artists and musicians, the platform contains six free workshop manuals, each promoting listening, mutual sound research and co-creation. The project was realised through the support of the EU’s Erasmus+ programme.

Night Air

Taking place from 2021 until 2023, during the COVID-19 pandemic and in accordance with lockdown and social distancing guidelines, Night Air was a series of online transmissions and offline events.

Night Air aimed to make pollution visible by drawing attention to the side-effects of modernity – from colonial exploitation of people and resources to the destruction of the environment and common land. The term 'night air' is derived from miasma theory (Greek for ‘pollution’), which is the belief that smelly air from decaying organic matter causes illness, particularly at night. Each edition featured contributions from filmmakers, artists, researchers and activists, including Jeff Diamanti, Ho Tzu Nyen, Félix Blume, and Inas Halabi. The programmes examined such subjects as the formulation of clouds, atmospheres, and turbulence, shifting sands, nuclear unknowns, and smog.

Residencies and Mentorship Programmes

Sonic Acts supports artists through a range of residency and mentorship initiatives aimed at facilitating new artistic production, research, and exchange.

Underexposed is an online mentorship and training programme for early-career artists, offering project feedback and development in collaboration with the Sonic Acts curatorial team. Past participants have included Yara Said / Noise Diva, Sarah Fitterer, Noam Youngrak Son, Erik Peters, Yeon Sung, Sandipan Nath, Lance Laoyan, Jurel Bakker, Hanchen Zhang, and Joseph Rouhana.

Overexposed is a research residency focused on the material and political dimensions of pollution, supporting artistic inquiry into the aesthetics and historical entanglements of environmental contamination. Previous residents include Ameneh Solati, Arjuna Neuman, Devin Hentz, Angela Chan, Maryam Monalisa Gharavi, MELT, Lucky Dragons, pantea, and Minji Kim.

In 2024, Sonic Acts launched ALTERLIFE, a collaborative residency with Rupert (center for art and education) in Vilnius. The residency examines chemical entanglements shaped by colonial and capitalist histories. Alina Schmuch was the first ALTERLIFE resident.

Podcasts and YouTube

Sonic Acts maintains an active presence on YouTube and podcast platforms, using these channels to share recordings of talks, interviews, panel discussions, and performances. These platforms function as an archive of the organisation’s Biennial and year-round activities.

The YouTube channel features audiovisual documentation of concerts, installations, and artist presentations, while its podcasts offer in-depth conversations with artists, researchers, and curators affiliated with Sonic Acts.

Podcast series include ''OVEREXPOSED: Artefacts of Pollution'', produced in collaboration with the Dutch radio platform Ja Ja Ja Nee Nee Nee, in which residents reflect on objects related to their research practices, and ''Sonic Trax'', which explores the organisation’s archive and the development of sound art.

Spatial Sound Platform and Radio

The Spatial Sound Platform (SSP) is a Sonic Acts initiative focused on the presentation, production, and preservation of spatial sound works. Since the early 1990s, Sonic Acts has explored multichannel sound and experimental audio formats. SSP collects and archives spatial works, including performances, reworked recordings, workshops, and new releases.

In 2024, Sonic Acts launched the Spatial Radio during the Biennial. The platform allows remote audiences to experience commissioned and archival spatial sound compositions through built-in spatial audio technology. Works are accessible via headphones, simulating a multichannel concert environment.

Sonic Acts Press

Sonic Acts Press is the publishing and record label division of Sonic Acts. It produces books, magazines, and sound works that intersect with themes of technology, ecology, and theory. Its publications combine academic research with artistic experimentation, offering interdisciplinary perspectives and speculative approaches to politics, environment, and culture.

Founded in 2001 to publish readers for the Sonic Acts Festival, the press has since expanded into an independent platform. In addition to printed matter, it releases sound art, live recordings, and compositions in digital and physical formats, distributed through platforms such as Bandcamp and Discogs.

Selected Publications

Since 2001, Sonic Acts has published a range of books, readers, and magazines addressing topics at the intersection of art, technology, and ecology. These include:

* ''The Art of Point Pixel Programming'' – DVD + Publication (2001) – Sonic Acts Festival reader
* ''The Art of Programming'' (2002)
* ''Unsorted A-Z'' (2004) – Sonic Acts Festival reader
* ''The Anthology of Computer Art'' – DVD + Publication (2006) – Sonic Acts Festival reader
* ''The Cinematic Experience'' (2008) – Sonic Acts Festival reader
* ''The Poetics of Space'' (2010) – Sonic Acts Festival reader
* ''A Ray of Darkness'' (2011) – Kontraste reader
* ''The Aelectrosonic'' (2012) – Kontraste reader
* ''Imaginary Landscapes'' (2011) – Kontraste reader
* ''Travelling Time'' (2012) – Sonic Acts Festival reader
* ''The Dark Universe'' (2013) – Sonic Acts Festival reader
* ''Vertical Cinema'' (2013) – Sonic Acts Kontraste reader
* ''Living Earth'' (2016) – Sonic Acts Festival reader
* ''The Noise of Being'' (2017) – Sonic Acts Festival reader
* ''Hereafter'' (2019) – Sonic Acts Festival reader
* ''Ecoes #1'' (2021)
* ''Ecoes #2'' (2021)
* ''All Thoughts Fly'' by Sasha Litvintseva and Beny Wagner, edited by Elvia Wilk (2021)
* ''Ecoes #3'' (2022) – Sonic Acts Biennial reader
* ''Ecoes #4'' (2022)
* ''Oil News 1989–2020'' by Maryam Monalisa Gharavi and Sam Lavigne (2022)
* ''Field Arts: Field Docket'' (2023)
* ''Ecoes #5'' (2023)
* ''Ecoes #6'' (2024) – Sonic Acts Biennial reader
* ''Ecoes #7'' (2025)

Selected Audio Releases

Sonic Acts also operates a record label, publishing sound art, field recordings, and live works. Selected releases include:

* C.C. Hennix and The Chora(s)san Time-Court Mirage – CD (2012)
* Tonaliens – LP (2015)
* BJ Nilsen & Karl Lemieux: ''unearthed'' – USB (2015)
* BJ Nilsen: ''ORE'' – digital release (2019)
* Martin Bartlett: ''Ankle On – Electronic and Orchestral Works'' – CD (2019)
* Mækur: ''Conditions: 1218–0719'' – LP (2020)
* Hugo Esquinca: ''EMS-REC_SAA2020 bjeto de acción parcialmente involuntaria' (2020)
* Andreas Kühne: ''Transients I/O'' – LP (2022)
* Sergey Kostyrko: ''Settlers'' – LP (2022)
* Lukas De Clerck: ''The Telescopic Aulos of Atlas'' – LP (2024), released by Ideologic Organ, co-produced by Sonic Acts

Editions

* 1994 - Sonic Acts I
* 1995 - Sonic Acts II
* 1996 - Sonic Acts III
* 1997 - Sonic Acts IV
* 1998 - Sonic Acts V
* 1999 - Sonic Acts VI
* 2000 - Sonic Acts
* 2001 - Point Pixel Programming
* 2003 - Sonic Light
* 2004 - Unsorted
* 2006 - The Anthology of Computer Art
* 2008 - The Cinematic Experience
* 2010 - The Poetics of Space
* 2012 - Travelling Time
* 2013 - The Dark Universe
* 2015 - The Geologic Imagination
* 2016 - Sonic Acts Academy 2016
* 2017 - The Noise of Being
* 2018 - Sonic Acts Academy 2018
* 2019 - HEREAFTER
* 2020 - Sonic Acts Academy 2020
* 2022 - Sonic Acts Biennial 2022
* 2024 - Sonic Acts Biennial 2024

References

External links

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*{{cite web, url=http://verticalcinema.org, title=Vertical Cinema, publisher=verticalcinema.org, accessdate=2017-06-28

Recurring events established in 1994
1994 establishments in the Netherlands
Art festivals in the Netherlands
Events in Amsterdam
New media art festivals