Canadian sound artist and radio producer Julia E Dyck invites listeners to immerse themselves in a sci-fi drama in five acts. Frequency Interference explores concepts of automation, posthumanism, and the relationship between identity and voice and looks into the unexplored potential of publicly accessible sonic infrastructures.

Working with mentor Peter Meanwell, Julia E Dyck investigates the possibilities of implicating the listener in the active communal structuring and deconstructing of aural experiences. In her research-based work structured as a sonic sci-fi, Dyck addresses thematic inquiries that characterize and define the present moment: speculative identities, alternative kinships, and our connection to technology. 

If you are interested in broadcasting Frequency Interference, please contact for the .wav file.

Frequency Interference can be broadcast as one 53 minute piece or as five short segments.


Produced by Julia E Dyck 2018

Featuring the voices of: Andrea Young , Amanda Harvey, James Goddard, Renny Wilson, Miranda Jones, Malcolm John Ward Remple, Julia E Dyck

Music by: Emiddio Vasquez, James Goddard, Amanda Harvey, Malcolm John Ward Remple, Julia E Dyck, Elena Stoodley, Joël Janis, Arnold Frolics

Recorded and mixed with Lukas Glickman at Value Sound

Images & Graphic design by Studio Skulptur

Frequency Interference was produced for the Forecast Festival and was premiered as a live, 7.1 channel radiophonic performance at the Haus der Kulturen der Welt on October 12 & 13, 2018. This project was supported Forecast/Skills e.V. in cooperation with Haus der Kulturen der Welt. It is supported by the Federal Government Commissioner for Culture and the Media, the Conseil des arts et des lettres du Québec and the Embassy of Canada.

This project was inspired by:

Pauline Oliveros, The Earth Worm Also Sings: A composer’s practice of deep listening

Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene

Jacques Attali, Bruits: essai sur l'économie politique de la musique

Ursula K Le Guin, The Garrier Bag Theory of Fiction