Can choirs be a form of protest, and what kinds of resistance could they provide in the midst of climate crises?

Our mini-series, ‘as a chorus’ begins with Niamh Schmidtke’s work, CHANTER (Aughinish). Their 15 minute audio introduces us to an aluminium refinery and it’s impact on the local population. Combining song and audio description, the work brings together its own chorus, inviting us to join their melodies, building from the individual to the collective as our awareness of their injustice intensifies. Together we discuss how the work incites forms of direct action, and the need for collective making.

This work was made through the Welcome to the Neighbourhood residency in summer 2025 at Askeaton Contemporary Arts. Askeaton Contemporary Arts is an artist-led organisation based in the west of Ireland since 2006. An ongoing residency programme creates critical cultural encounters in the midst of the Irish countryside each summer, while public programmes and exhibitions in Askeaton and elsewhere over two decades have found innovative public contexts and resilient relationships for new forms of artmaking to emerge.

Further resources about Aughinish can be found through https://www.stigmadamages.com/

Voices (in order of appearance); Bernadette Hayes, Inbher Glenn Community Choir, Monya Riachi, Christopher Clery, Grainne Hassett and Akinsola Lawanson.

Bio:

Niamh Schmidtke (b. Dublin 1997, they/she) is an artist, lecturer and arts facilitator based across London and Limerick. They explore the politics of green washing, economic jargon and the language of democracy through speculation, audio, ceramics and installations, centring intimacy as a form of decolonial praxis. They examine the relationship between listening and speaking, to consider the kinds of voices that deep time, the sea, or humans could have with one another. They currently lecture in the School of Architecture, Limerick, with an MFA from Goldsmiths, London and BA from LSAD. Awards include; Agility Award, Material Futures Residency at Cove Park Scotland and the European Investment Bank’s (EIB) Artist Development fund. They have exhibited across Ireland and internationally including TULCA; Salvage Agency, Galway (2024), Pulling Blood from a Stone (solo), Science Gallery Berlin (2024), DARE 2019, Orpheus Institute, Belgium and PULSE, Limerick City Gallery (2022). Their work is held in public and private collections, including the EIB’s permanent collection. They are a member of Lewisham Arthouse artists’ co-op where they co-organise the Graduate Award with Sara Willet.

Artist @niamhschmidtke 

Hosts @influential_bro @_rebecca.edwards  

Music @joemoss1 @jtre_v

Broadcast through @rtm.fm

For episode 29, we listen to the second half of Black Holes Act 1. This 40-minute radio play by Suley, which holds a mirror up to the UK after last year’s race riots. A re-imagining of Derrick Bell’s 1992 novella ‘Space Traders’, Black Holes is a satirical work of speculative fiction in which aliens offer the UK vast riches in exchange for its Black citizens and a referendum is called on the trade. An Afrofuturistic exploration of critical race theory, this two-part episode asks if progress for racial justice happens only when it aligns with the interests of a White majority.

Drawing inspiration from political satires like The Thick Of It, surrealist dramas such as Atlanta and the contemporary Black British storytelling of I May Destroy You, Black Holes employs worldbuilding as a radical tool to deliberately instigate positive change. In this episode we discuss how the work is an attempt to critically reflect on the familiar with which are inextricably bound – and how to change the world, we first must imagine one drastically different to the one we have.

​

Bio:

Suley is a playwright, painter, lawyer and lecturer, Suley uses worldbuilding as a radical tool to deliberately instigate change. His latest body of work is an attempt to critically reflect on the familiar with which are inextricably bound. Fusing sculpture, ceramics, print media, film, and sound, Suley continues the Afrofuturist tradition of generating a multiplicity of futures with which to positively affect the present.

Artist @suley.art

Hosts @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1 @jtre_v

Broadcast through @rtm.fm

Black Holes Act 1 is a 40-minute radio play by Suley, which holds a mirror up to the UK after last year’s race riots. A re-imagining of Derrick Bell’s 1992 novella ‘Space Traders’, Black Holes is a satirical work of speculative fiction in which aliens offer the UK vast riches in exchange for its Black citizens and a referendum is called on the trade. An Afrofuturistic exploration of critical race theory, this two-part episode asks if progress for racial justice happens only when it aligns with the interests of a White majority.

Drawing inspiration from political satires like The Thick Of It, surrealist dramas such as Atlanta and the contemporary Black British storytelling of I May Destroy You, Black Holes employs worldbuilding as a radical tool to deliberately instigate positive change. In this episode we discuss how the work is an attempt to critically reflect on the familiar with which are inextricably bound – and how to change the world, we first must imagine one drastically different to the one we have.

​

Bio:

Suley is a playwright, painter, lawyer and lecturer, Suley uses worldbuilding as a radical tool to deliberately instigate change. His latest body of work is an attempt to critically reflect on the familiar with which are inextricably bound. Fusing sculpture, ceramics, print media, film, and sound, Suley continues the Afrofuturist tradition of generating a multiplicity of futures with which to positively affect the present.

Artist @suley.art

Hosts @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1 @jtre_v

Broadcast through @rtm.fm

What is the next New Weird? How might ‘weirding’ help generate collective virtual or physical spaces to resist cultural binaries, and do these amorphic, slippery forms of language provide tools to resist totalising phrases of good and evil? 

For this episode, we recap the 4 artist works featured on our New Weird mini-series, revisiting questions of how the tools of this literary genre might provide emancipatory places to build new worlds from. Revisiting Philip Speakman’s use of weirding, Jelena Viskovic’s surrealism, Chris MacInnes and Chaos Theory, and Monya Riachi’s rejection of worldbuilding, your hosts thread these themes across the past episodes alongside our own research in a free flowing conversation.

Hosts @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1 @jtre_v

Broadcast through @rtm.fm

Future Artefacts FM host artist Monya Riachi, as part of their New Weird Mini-series. Her work, Concerning Geographies: Entangled Histories, a speculative letter, addresses cartography across the Levante and the UK. Heard here as part of a live performance debuted alongside research unfolding the processes of map making, and their relationships to borders and power as imperial constructions.

Monya Riachi is an interdisciplinary artist. Her practice is material driven and research-led, and is explored through sculpture, installation, moving image, sound and writing. Her work centres matter as a site of meaning, narrative and archive, and explores themes around loss, ecological transformation, the politics of land and time. 

Sound Design support: Cameron McClellan

Artists @monya.riachi

Host @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1 @jtre_v

Broadcast through @rtm.fm

Part three of our New Weird mini series features Jelena Viskovic’s Motonation. This 9 minute extract shows us two societies, Happy Nation & The Grid, where we follow Čedo as he decides which group to join. This surrealist sci-fi examines the consequences of individual vs collective desires, referencing Yugoslav performance art from the 1980s, and tools of humour and weirding during Čedo’s journey.

Sound Composition and Design: Tamás Marquetant

Chedo: Chad (Čedo) Spence

Her Sanctuary: Marija Iva Gocić

Artists @jelovix

Host @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1

Broadcast through @rtm.fm

Jelena Viskovic is an artist born in 1989 in Zagreb, Yugoslavia, raised in Belgrade, Serbia, currently living and working in London. Her background is in software engineering and game development.

Her work explores the role of gesture and play in relation to the creation and preservation of techno-scientific, political and historical narratives. Her sculptures and moving image works incorporate animated, talking objects that make their way into technologically deterministic, seemingly inanimate systems. Borrowing from a playful, carnivalesque logic, these worlds become rebellious but approachable, attempting to resist the rigid environments of institutions, archives, libraries and databases.

For the second part of our New Weird mini series Chris MacInnes shares Impotent Island, an installation that’s been adapted for audio broadcast. In the 11 minute audio we listen to MacInnes’ narration collapse time, connecting cosmology at a planetary scale to Sheffield’s historical industrialisation through the extraction of coal, the heat of steam and their impact within the Anthropocene. Together we discuss what role weird has here, reflecting on the changing labour patterns from the industrial era to contemporary neoliberalism such the restriction of workers’ movements to the efficiency of steam engines, or influencers being caught between human labour and digital technologies. Through the shifting scales of time in Google street view, altering dimensions via dioramas in MacInnes’ installation or the construction of Northern masculinity, we delve into key concepts of chaos theory to translate how we might place within a world right is rapidly transferring the skills of humans to machines.

Artists @stickyvectors

Host @influential_bro @_rebecca.edwards 

Music @joemoss1

Broadcast through @rtm.fm

Chris MacInnes is a British American artist raised in Sheffield. He uses a myriad of technologies and technical skills to unpick, poke and test the complex planetary networks that bind together universal facts and local phenomena. MacInnes has used game engines, server deployment, multiplayer environments, physical computing, web scraping and AI to tug at the mesh work of a networked world.

Our latest mini-series on the New Weird begins with the premier of Philip Speakman’s, Reality Break, a 15 minute audio work, which follows the recollections of 4 facebook employee’s Dungeons & Dragons game in the summer of 2020. Set before Facebook’s Metaverse was released to the public, Reality Break explores the social conscience of these worldbuilding employees. Timed to distract from Frances Haugen’s whistleblowing, which revealed how Facebook’s understood the harm their algorithmic choices made, we address what weirding can do or make sense of, as worldbuilding becomes increasingly co-opted by tech corporations such as facebook. Speakman is the unheard dungeon master at the edge of this piece, drawing analogies between the historic connections of multiplayer games and dungeons, from MUD systems in the 1970s, to 4chan, the metaverse or the weird basement that appears at the end of the work. Together we ask if weirding is a more accessible tool to reimagine our present, that doesn’t require the commitment of imagining a new world, and how the uncanny draws attention to norms enforced by late stage capitalism.

For our regular listeners, you’ll also notice our newest member of the Future Artefacts FM team, Rebecca Edwards, who we’re thrilled to have developed our latest mini-series on the New Weird, and more projects coming soon!

Artists @philipspeakman 

Host @influential_bro @_rebecca.edwards  @niamhschmidtke 

Music @joemoss1

Broadcast through @rtm.fm

Philip Speakman’s practice explores fiction as a technology, and how the imaginary transgresses its unreality through the media, communication and narrative technologies of its times. In the last year he has screened work at Flat Earth Film Festival 2023 (Iceland), delivered a workshop ‘A Self Induced Hallucination’ at the Lethaby Gallery (London), and presented Katabasing, a mixed reality performance for Gossamer Fog’s Alt_R virtual reality studio. His essay '“It May Start Out As A Game But It Ends Up A Whole World”; Creepypasta, QAnon, and the Anomalous Tales of the Internet' is to be published in a special issue of the journal Contemporary Legend later in the year. He graduated from MA Fine Art at the The Slade in 2023. 

Is it possible to decolonise mineral collections? How might our understanding of mineralogy support climate activism or anti-racist methodologies?

For the second part of our double bill with co-founder Niamh Schmidtke, we are listening to the final half of Pulling Blood from a Stone, a 35 minute radio play. Alberto Duman joins us as co-presenter, addressing key questions in act 3 and 4 about how minerals might hold kinship with specific places or peoples affected colonisation. Diving into Tsumeb, Namibia, in the early 1900s, and a near future in Berlin, these two acts are voiced by minerals which want to fight against oppressive colonists, and the impact of geology’s categorisation of their elements. We touch on how anthropomorphising such rocks can help share their stories and rebellions. This also becomes a way to unpick the roles of these beings within our technology, such as in batteries and the ways their voices might be heard through a miners’ strike, the shattering of stones in oxygen or the rise and fall of mountains.

Pulling Blood from a Stone is part of the Earth Water Sky Environmental Sciences and Art Research, Commissioning and Production Programme curated by Ariane Koek and funded by Fondation Didier et Martine Primat to whom we give grateful thanks. 

Artists @niamhschmidtke 

Host @ellaberto  @influential_bro

Music @jtre_v

Broadcast through @rtm.fm

Niamh Schmidtke (b.1997, Dublin) explores the political complications of ‘being green’ by cultivating conversations with the environment, through speculation, audio, ceramics and installations. They examine the relationship between listening and speaking, to consider the kinds of voices that deep time, the sea, or humans could have with one another. In 2023 they were the EARTH artist-in-residence at the Technological University of Berlin, with Science Gallery International, a research residency with the university’s mineral collection. Recent projects also include How to Harness the Wind (2023), a collection of 3D printed clay crystals mimicking those mined for wind turbine construction, funded by Arts Council Ireland, as part of the Hunt Museum’s, Night’s Candles are Burnt Out exhibition. Schmidtke is the SADP (formerly SAUL) artist in residence, researching local clays through workshops and lectures with students. They hold an MFA (Hons) from Goldsmiths, University of London (2021), and a Ba (Hons) from LSAD (2019). They have co-produced the radio show Future Artefacts FM with artist Nina Davies since 2021, receiving an Arts Council England National Lottery project grant, and funding from the Elephant Trust.

Alberto Duman is an artist, university lecturer and independent researcher whose work is situated between art, urban studies and social practice. He is interested in the cultural production of urban spaces, narratives and atmospheres, and the agency of art within the immaterial economy of this production.

In 2016 he was the Leverhulme Trust artist in residence at University of East London, where he produced the project Music for Masterplanning. In 2018, the co-edited anthology from the project 'Regeneration Songs: Sounds of Loss and Opportunity from East London' was published by Repeater Books. 

He is Senior Lecturer in Fine Arts and Programme Leader for the MA Expanded Printmaking at Middlesex University in London, a convenor of the online course PILOT at Autograph and a member of the DIG Collective. 

His ongoing project ‘Haunting the Future City’ is developing through educational spaces, films, exhibitions, ‘talking ghosts’ collective writing workshops, conference presentations and building up towards a PhD at Kings College London, Human Geography department.

If we could communicate with the minerals around us, what voices would we hear? What would they speak about? And what relationships would rocks and minerals have with one another?

For this special double bill, co-founder Niamh Schmidtke is sharing their recent audio play, Pulling Blood from a Stone, across two episodes. We have invited guest Alberto Duman to co-present the first half of this 35 minute work. Act 1 and 2 follow pre-history, set 2 billion years ago, and in 500BC, where we are introduced to groups of minerals discussing what it means to be alive and the types of autonomy they have on the planet. Together we discuss the implications of speculating on mineral conversations, and what roles they’ve had in human history, namely in the production of cultural objects and as examples of wealth across time. We collectively imagine the roles communication has, and what ways we make contact with rocks, crystals and stones without speech. Touching on the politics of time, and how we might connect deep time and political time scales, as a way to live well during climate crises, this first episode begins our thoughts about the connections between non-human beings and the scientific valuations placed upon them. 

Pulling Blood from a Stone is part of the Earth Water Sky Environmental Sciences and Art Research, Commissioning and Production Programme curated by Ariane Koek and funded by Fondation Didier et Martine Primat to whom we give grateful thanks. 

Niamh Schmidtke (b.1997, Dublin) explores the political complications of ‘being green’ by cultivating conversations with the environment, through speculation, audio, ceramics and installations. They examine the relationship between listening and speaking, to consider the kinds of voices that deep time, the sea, or humans could have with one another. In 2023 they were the EARTH artist-in-residence at the Technological University of Berlin, with Science Gallery International, a research residency with the university’s mineral collection. Recent projects also include How to Harness the Wind (2023), a collection of 3D printed clay crystals mimicking those mined for wind turbine construction, funded by Arts Council Ireland, as part of the Hunt Museum’s, Night’s Candles are Burnt Out exhibition. Schmidtke is the SADP (formerly SAUL) artist in residence, researching local clays through workshops and lectures with students. They hold an MFA (Hons) from Goldsmiths, University of London (2021), and a Ba (Hons) from LSAD (2019). They have co-produced the radio show Future Artefacts FM with artist Nina Davies since 2021, receiving an Arts Council England National Lottery project grant, and funding from the Elephant Trust.

Alberto Duman is an artist, university lecturer and independent researcher whose work is situated between art, urban studies and social practice. He is interested in the cultural production of urban spaces, narratives and atmospheres, and the agency of art within the immaterial economy of this production.

In 2016 he was the Leverhulme Trust artist in residence at University of East London, where he produced the project Music for Masterplanning. In 2018, the co-edited anthology from the project 'Regeneration Songs: Sounds of Loss and Opportunity from East London' was published by Repeater Books. 

He is Senior Lecturer in Fine Arts and Programme Leader for the MA Expanded Printmaking at Middlesex University in London, a convenor of the online course PILOT at Autograph and a member of the DIG Collective. 

His ongoing project ‘Haunting the Future City’ is developing through educational spaces, films, exhibitions, ‘talking ghosts’ collective writing workshops, conference presentations and building up towards a PhD at Kings College London, Human Geography department.

Artist: Niamh Schmidtke

Hosts: Alberto Duman and Nina Davies

Music: Joe Moss and John Trevaskis

Producer: Mat Jenner

Broadcast through Radio Thamesmead

Sound Actors (in chronological order): Deborah S. Phillips, Oğuzcan Özyurt, Claudia Wiedemer, Sydney LaFaire

Audio Contributions: Dr. Johannes Giebel and Nikolai Azariah

German Translator: Beatrice Zaidenberg