Ida Hiršenfelder (beepblip) is a sound artist and archivist making immersive psychogeographical spatial compositions. Her work primarily explores sound ecology and spatialisation, addressing themes such as the agency of non-organic others, non-human animal languages, and listening to the inaudible. She was a member of the Theremidi Orchestra (2011–7) and is currently part of the Jata C group for bioacoustics and sound ecologies (2018–), the Clockwork Voltage community for modular synthesis (2022–), and the CENSE Central European Network for Sonic Ecologies (2022–). Her solo albums Noise for Strings, Vol. 1(2019), Noise for Strings, Vol. 2 (2020), and Rhythmagogia (2025) were published by the Kamizdat label. She has exhibited sound installations at group shows in museums such as MG+MSUM (2013, 2024, 2025), MSU Zagreb (2019), ZKM Karlsruhe (2022), Kunsthaus Graz (2025), and Cité Internationale des Arts Paris (2026). Her compositions and installations have been presented at various festivals, including Ars Electronica, Linz (2016), Device Art, Zagreb (2019), OTTOsonics, Ottensheim (2022), Wave Field Synthesis, The Hague (2022, 2023), Motions | An Experimental Sound Event, Zagreb (2023), Experimance, Saarbrücken (2024), TO)pot Festival of Radical Walking, Ljubljana (2024), and Lighting Guerrilla, Ljubljana (2025). Hiršenfelder completed a Master of Sonology at the Royal Conservatoire in The Hague. She frequently composes for contemporary dance, for which she received the Golden Lightning Award from Bunker Institute for soundscape in the 2023/24 season.

Artist's statement

As a field recordist, I purposefully expose myself to unknown and threatening elements such as cold, darkness, physical exertion, social vulnerability, ecological ruin or wildlife risk. Such exposure is almost ritualistic as it may trigger a form of catharsis after a prolonged recording session, and it is vital in ecological awareness because a promise of eliminating fear and existential anxiety is at the core of establishing rigid boundaries between human and non-human worlds. The human desire to know where the next meal comes from and to feel safe from external risks is why we are willing to promote many forms of ecological/climate injustice.