sedimente
A place for enchantment and critical perspectives. Growing and degrowing in contemporaneity.
Dear readers, sounders, listeners,
Sedimente is looking for sounds that appear wet—or that are wet in their sonic phenomenology.
Is it your mouth? A puddle? Mud? Skin? Your computer? Is it your echo, fully wet? A mollusc? A slippery floor? Wet hands and/or a slimy business handshake?
Have you ever felt a shiver from tip to toe when listening to wet sounds?
Wet sounds are political. Wetness is what makes all alive. Wetness is what lets us rub without getting hurt. Wetness is a reason to fight; a reason to right. Wetness is a feminist manifesto, liquefying common currencies without needing to write a thesis about it.
The Wet Sounds Library is an attempt to emphasize the sound of wetness; to connect the dusty materials; to stick to each other in a drained and hungry world; to finally slide again (no borders!) and to get in touch with smoothness, slime and more.
The Wet Sounds Library is initiated by Conny Frischaufs within their research on phenomenology of wetness and will be organized and published via Sedimente in autumn 2025.
More details on it will follow in August/September 2025.
How to submit your wet sound?
Hand in 1 A4 PDF until June 30th 2025. The PDF should include:
- a link to your soundfile (
- an audio description
- a title
- your name
Soundfile
1 contribution per person,
max. 3:00 minutes per contribution
Preferably .wav or .mp3 file
The contribution should fit in the context of a library (see context below) and reflect wetness or the sound of wetness through auditory approach (please no spoken word)
Please make sure to provide a permanent link available such as dropbox, google drive etc.)
Audio Description
Description of what we hear in the audio file (max. 50 words; this text is meant as an alternative for barrierfree reasons)
Title
A short description with 1-5 words/signs being used as a title.
Here you can also write “untitled”; please make sure that your title is descriptive just as used in sound libraries; find examples here or here.
Name
Please mention the name you want to use in the publication. If you don’t want to have your name mentioned it is also fine. Just write it in the PDF.
(Your name will not be mentioned next to the title, but in a row with all the other artists that contributed sounds. Make sure to be aware of this collective approach and to also feel comfortable with it.)
Optionally and if necessary to understand the context of your recording you can add a description of it (maximum 50 words).
How to send
_Put everything, including a unlimited Downloadlink in a PDF and send it to sedimente(at)sedimente.org
Subject: Wet Sounds Library
Context
Until the 1980s/90s, sound libraries were essential tools in audio (post)production for film and broadcast scoring. By tracing these pre-digital methods of archiving and production, we reframe the practice of archive-making—which once meant collecting studio-quality sounds for reuse—as a collective and feminist act of storing, storytelling, sharing, and listening to (wet) sounds. This re-activation of standardized entertainment industry techniques is also a response to our current sonic habits and habitats: an era of inexhaustible sonic availabilities, ear-drilling sounds emitted by our everyday devices, and the rise of noise-cancelling headphones that simulate silence while displacing it. Welcome to the hypersensory state of technified sencieties.
With your contribution, you commit to a form of publishing and collaboration that seeks alternatives to hyper-individual modes of processing sounds, engaging with sonic environments, and fostering sonic awareness.