In this paper, I explore how humans may grapple with the shifting interrelationships within climate-fuelled extreme wildfire behaviour and ocean dynamics, and our own role both feeding and being impacted by these permutations. I briefly explore existing approaches to climate aesthetics and representations of turbulence, anchoring these to my practice across two immersive visualisation projects; Ocean Explorer and iFire. I argue that traditionally static renderings miss crucial opportunities to sup-port more embodied understandings which leverage more visceral ways of knowing. I reflect on the nature of the ecosystems under examination as complex networks of interrelationships. In doing so, I draw on both Western and Indigenous philosophies which challenge traditional distinctions between human and nonhuman, machinic and "natural" elements. Ultimately, I prioritise a relational ontology which acknowledges the vitality of these disparate agencies, while recognising asymmetry in power dynamics and the potential for newly emergent social and terrestrial structures. By displacing the human's role as subject atop a hierarchy of relations, I underscore the need for a more than human, embodied approach to the aesthetics of turbulent climate extremes.

This article explores the perception of atmospheric processes,
focusing on environmental sound as a communicative medium.
It delves into the concept of a voice of the weather and examines the complexities of climate, atmospheres, and weather
patterns. This study is oriented toward an embodied listening of the weather, departing from ideas related to a hyper-
sensitivity to atmospheric conditions. The article also grounds
Atmospheric Embodiment through a relationship between the
surrounding weather, envelopment, and immersion, particularly
in the context of music and sound. In parallel, it reviews Otoacoustic Emissions within the framework of composing embodied music, considering potential connections with environmental sound. Drawing from these diverse disciplines, the article proposes a work in progress-media artwork that collects these notions to experience an Atmospheric Embodiment, culminating in the creation of an installation based on Otoacoustic Emissions and environmental sound. This novel approach
aims to attune individuals to the nuanced expressions constituting the voice of the weather.

This essay considers noisy expressions as potential space provid-ers that defer an anticipatory attitude of classification. It questions how our accustomed aurality prevents us from listening to emer-gent voices and noises around us. Feminist new materialism is combined with indigenous resonant studies and critical readings of information theories to examine and undo the negentropic exclu-sion of noise for knowledge production.
Noise causes reverberations not only because of its contribution to information but also due to its unavoidability as an interference pattern. However, congruent to the one-sided interpretation of agency, noise's affectivity has been rendered dismissible within Western modernity. Despite suppression, distortion, or being declared incomprehensible by Western metaphysics, interferences, when considered in its complexity, noise discloses itself as an equally destructive and creative force.
However, by perceiving reverberating interferences as noisy sig-nals, their material affectivity shifts the affordance of re-sponse/i/ability. Thus, this essay argues that a re-interpretation of noise fundamentally contributes to widening the frequencies for meaning/mattering urgently needed for the pressing tasks of un/learning.

Analysis of computation of photography in context of visual genetic analysis, but also genetic programming, is often limited to theory of genotype and phenotype, due to its relation to artificial life theory. This presentation dives back into historical pieces of photography computation to indicate presence of other genetic concepts, as; theory of common human ancestor, Cambrian explosion and punctu-ated equilibrium. By focusing on works of pioneers Nancy Burson, Gerhard Lang, and Mongrel, this presentation aims is to show how artistic experiments were not limited to a genetic master-narrative but also had worked with other hypotheses.

The development of electroacoustic music during the second half of the 20th century represents a significant achievement in a renewal and long convergence process between art, science, and modern technologies. New aesthetic values and models, scientific theories, technologies and techniques gradually met, allowing a new approach to listening, understanding, and creating music. In Latin America, technology innovators were pioneering the development of instruments and devices that allowed the creation of new media art, including electroacoustic music. Juan Blanco from Cuba, José Vicente Asuar from Chile, Raúl Pavón from Mexico, César Bolaños from Peru, and Fernando von Reichenbach from Argentina were among those innovative creators and engineers.