Hayden Ryan and Rosalind Hall come together for a new collaborative performance exploring territory, borders and the politics of mapping through experimental composition and sonic practice. Centring the tension between First Nations and Western cartographic traditions, the work reflects on the ways private, state and national borders impose systems of division, ownership and control across land.

Ryan is a Yuin-Walbunja sound scholar and artist whose practice centres Indigenous ways of knowing through acoustic and spatial research. Hall is a Naarm-based musician and composer whose expansive electroacoustic practice explores the physicality of sound through amplification, microtonality, resonance and experimental performance techniques.

This performance forms part of Radio Composite’s 2026 commissioning program, a series of new audio works by Hayden Ryan, Edwina Stevens, Kirby Fary and Joy Zhou. Developed for live presentation and broadcast from Brunswick Mechanics Institute, the commissions extend Radio Composite’s ongoing program of experimental music, sonic art and critical conversation, bringing artists and audiences together through live performance, transmission and collective listening.

Radio Composite is an artist-run internet radio station broadcasting from Brunswick Mechanics Institute, providing a platform for interdisciplinary practice, community-focused broadcasting and skills sharing.

Biographies:

Hayden Ryan is Yuin-Walbunja sound scholar and artist from the southeast coast of New South Wales, currently residing in Naarm (Melbourne, Australia). His sound work centres Indigenous ways of knowing through acoustic and spatial practices.

Hayden is a graduate of New York University’s Master of Music in Music Technology (2022-24); a 2025 resident of the Helsinki Interntaional Artist Programme (HIAP); and currently a Vice-Chancellor’s Indigenous Pre-Doctoral Research Fellow at RMIT University (PhD; Associate Lecturer). His research explores how sonic practice and acoustic space influence ways of understanding the environment, history, law and positionality amongst Indigenous cultures - blending signal-processing, acoustic analysis and creative practice with Indigenous research methods to produce a body of work that encapsulate the intricate ties between First People and sound.

Rosalind Hall is a Naarm (Melbourne) based musician and composer working across
theatre, film, performance and installation. Her spatial and expansive work explores
the physicality of sound using amplification, microtonal movement, beating
frequencies and reverberation. Rosalind plays with pushing her electronic and
electroacoustic instruments into unfamiliar sound territories by way of sampling
technology and experimental playing techniques, creating new and imagined sound
worlds.
Rosalind has studied classical, jazz and improvised music as well as production and
composition. She has a Bachelor of Fine Arts (Sound Art) from RMIT, Diploma of
Education from La Trobe and currently teaches within the SIAL Sound Studios at RMIT,
mentors at VCA and facilitates workshops for young people at Arts Centre Melbourne.
Select credits include Troy (Malthouse Theatre), Rewilder (Dir. Cameron Nelson), Mars
Futures (Dir. Hannah Moore), Monsters (Malthouse Theatre and Stephanie Lake
Company), KKUM 48 (Vurt label), Sonorous - The MESS Commissions (The
Substation), Drift (Important Records), Chapel of Bones (with Jim Denley, Mona
Foma), Experiments in Freedom (with Michael Candy, Melbourne Festival), Body of
People (Science Gallery Melbourne), and People’s Puppet Project (Snuff
Puppets/Echigo Tsumari Festival).

Website: rosalindhallsound.com
Bandcamp: rosalindhall.bandcamp.com