strange strangers

37 min 28 sec, for headphone listening, 2015-2019
commissioned for R{A}DIO{CUSTICA}, Czech Radio Vltava (Český rozhlas ČRo 3)
first aired on 30.10.2019, 22:00, PremEdition Radioateliér. curated by Ladislav Zelený.
winner of the Field Recording Category (Prix Paysage Sonore) of the Phonurgia Nova Awards 2020.

listen on R{A}DIO{CUSTICA}
listen on Phonurgia Nova

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“Pablo Sanz’s piece possesses a great richness in timbre, frequencies and dynamics, and projects a very fine work onto the sonic plane. The first sequence guides us inwards and beautifully implements the radical ecological approach developed by the philosopher Vinciane Despret: that of placing ourselves in relation to other animal species as individuals in relation to other individuals, of perceiving them not simply as representatives of their vast family, but in their singularity as subjects. Strictly speaking, we are challenged and questioned by these “strange strangers”.
Juliette Volcler – Phonurgia Nova

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STRANGE STRANGERS is a composition based on environmental sound recordings created over several weeks of fieldwork across different locations within Amanã and Mamirauá, two large territories in the central Amazon region, during the dry season of 2015. The original recordings highlight unusual listening perspectives and encounters during “canoe-walks” along river tributaries, canals, lakes, riverbanks, and flooded forests. The sound materials feature the entangled manifestations of a myriad of species (birds, insects, mammals, amphibians, fishes, plants), abiotic matter, water, and geophysical processes and formations, sensed through specialised and unconventional devices. The listening strategies explored in the field include open-air recordings with a parabolic microphone, underwater listening, and the investigation of the ultrasonic range beyond human hearing.

“The ecological thought imagines interconnectedness, which I call the mesh. Who or what is interconnected with what or with whom? The mesh of interconnected things is vast, perhaps immeasurably so. Each entity in the mesh looks strange. Nothing exists all by itself, and so nothing is fully “itself.” […] Our encounter with other beings becomes profound. They are strange, even intrinsically strange. Getting to know them makes them stranger. When we talk about life forms, we’re talking about strange strangers. The ecological thought imagines a multitude of entangled strange strangers. […] Our encounter with other beings – and with our being as other – is strange strangeness.” [1] [2]

“Strange strangers” is a notion by Timothy Morton that refers to non-human creatures, conceived as ambiguous entities, as beings unable to be completely comprehended and labelled. This idea prompts us to examine the paradoxes and fissures of identity within “human” and “non-human”, and within “self” and “other”. Furthermore, recognising agencies and vitality beyond the human makes it also possible to think sounds and works of art as phenomenological beings that in some powerful sense display “something like agency and something like affect.” [3]

STRANGE STRANGERS invites us to listen to (within) a singular world of vitality and non-human otherness which incites (un)familiar feelings and curiosity. Clear borders between life, non-life, things, and perceptions are confused. This work cultivates sensorial, ambiguous, and intimate modes of listening and durational attention. These forms of eco-aesthetic listening challenge us to consider sounds as entities (“creatures of time” [4]) holding the same ontological status as the beings, materials, and processes which originate them. The experience encourages us also to acknowledge the creative nature of perception, expanding the role of the listener.

Ecological thinking beyond the conventional understanding of so-called “nature” and “the environment” as detached and “exterior” to the human, asks us to move away from a purely anthropocentric understanding of the world. Likewise, this refreshed thinking suggests alternatives to canonical assumptions and representations of creative practice engaged with environmental sound and forms of so-called “environmentally-concerned” and “ecological” art. The kind of listening practice put forward questions representational, narrative, utilitarian, and visual-centric paradigms, moving beyond dominant tendencies in contemporary societies.

[1] Timothy Morton. The Ecological Thought. 2010
[2] Timothy Morton. Thinking Ecology: The Mesh, the Strange Stranger, and the Beautiful Soul. 2010
[3] Timothy Morton. Earworms. 2017
[4] Casey O’Callaghan. Sounds: A Philosophical Theory. 2007


– Mamirauá Institute for Sustainable Development, Tefé, Amazonas, Brazil
– Santander Foundation
– Sonic Arts Research Centre (SARC), Queen´s University Belfast (QUB)
– Laboratory of Acoustics and Sound Arts (LASom), Music Department of the Arts Institute at State University of Campinas (UNICAMP), São Paulo, Brazil
– Visby International Centre for Composers (VICC), Gotland, Sweden
– Elektronmusikstudion EMS, Stockholm, Sweden
– Acción Cultural Española (AC/E) and the Spanish Embassy in Sweden
– T37 Studios, Madrid, Spain

Special thanks to the field specialists, researchers, staff, and everyone who helped in Tefé and the riverine communities of Baré, Boa Esperança, Jarauá, and Horizonte within Amanã and Mamirauá, and to Maria Cecília Gomes, Silvia Jánošková, Timothy Morton, Eduardo N’gongo, and Ladislav Zelený.


LUCIA Festival 2020, Radiopapesse, Manifattura Tabacchi, Florence // Radio Papesse´s archive →
RADIOPHRENIA 2020, Centre for Contemporary Arts (CCA) Glasgow
UNDAE!, Radio Círculo, Madrid – scheduled
Wanderlust, Cashmere Radio, Berlin – scheduled



le regard circulaire / coup d’oeil instantané / notre intuition animale / Bien sur, nous y sommes, la confrontation / cognition comparée pour certains, “strange strangers” pour Pablo Sanz, qui nous embarque en Amazonie centrale, et très précisément sur les territoires d’Amanг et Mamirauб / la confrontation. La première peut sembler saisissante (d’effroi) s’il n’est qu’elle nous donne а percevoir (enfin) l’évidente justesse d’une reconnaissance mutuelle / cri primal, statutaire / qui est donc l’étrange étranger ? / le respect est de mise / l’évidence du langage. Nulle prérogative dominante, depuis la captation sonore / capture / jusqu’au ballet digital de ces mots / convenus / le devoir d’équilibre.
Nous voici donc embarqués sur ce canoé, suspendus aux très concrètes déambulations des micros paraboliques de Pablo Sanz, pour ce qui peut кtre qualifier de “voyage singulier” / éprouvez la plus que merveilleuse consistence physique de la surface /
Si l’étrangeté des rencontres (sonores) que l’on y fait, a cette saveur atonale, elle est celle d’un langage en cours d’acquisition / extravagance naturelle / une relation interpersonnelle démultipliée dont Pablo Sanz nous livre généreusement les clés d’une curiosité assurément abyssale, mais aucune réponse / le parcours est а faire seul.e / armé.e de cette mкme curiosité (abyssale ?).
Pièce maоtresse, puisque logiquement récompensée en son sérail initial, ces 37 minutes sont propices а l’initialisation graduelle, pour preuve cette rupture а la 20ème (approximative) minute, alternance fabuleuse entre jour et obscurité / nouvelle ouverture / Aucun doute n’est désormais permis, Pablo Sanz écrit, en extême délicatesse, une oeuvre maоtresse dégagée, autonome, en parfaite et absolue symbiose / une … évolution.

L’after music a désormais découvert son merveilleux printemps – un chef d’oeuvre !