ZHAO JIAJING
赵嘉旌



Spatial Music Compositions 空间音乐作曲
Installations & Multimedia 装置与多媒体

Project Credits 项目经历
Information 艺术家信息
Naiad
2025, revised 2026
3rd Order Ambisonics + Stereo Diffusion
9’38”
(Please listen with headphones.)


Naiad is a spatial acousmatic composition that adopts a non-human perspective to explore the sonic ecologies of wetlands. It focuses on the littoral zone – the shallow, near-shore area – through an imagined journey from the perspective of an aquatic insect nymph. Created in collaboration with the WWT Wetland Centre (London and Arundel, UK), the piece explores a vibrant ecosystem where biological life and human infrastructure are intimately entwined.

To access this micro-sonic world, the work utilises specialised recording tools to extend beyond the limits of human hearing. Submerged hydrophones reveal the crackling of photosynthesising plants and the subtle vibrations of aquatic insects. Electromagnetic microphones expose the invisible currents of the park’s operational infrastructure, while low-angle Ambisonic recordings capture the environment directly from within the reeds.

The composition fully embraces the sonic ecology of this modern wetland. Rather than isolating the natural soundscape, the piece allows organic and infrastructural sounds to physically entangle. The calls of amphibians and birds merge naturally with artificial fountains, electrical hums, and the relentless drone of passing aeroplanes. Through processing techniques such as envelope shaping, convolution, and spectral morphing, the sonic materials mutually modulate one another, creating a shared ecology where the biological and the artificial constantly collide and co-create.


Special thanks:
Adam Stanović
WWT Wetland Centre London and Arundel
Performances:
  • 2025: PSeME “Study for One Stroke in the Water” Concert @Audio Art Festival, Kraków, PL
  • 2025: La Hora Acusmatica Virtual Concert, Online
  • 2025: APNÉES PAYSAGES | COMPOSÉS, Grenoble, FR
  • 2025: TURNS - Marshlands, ZKM Hertzlab, Karlsruhe, DE
  • 2025: Soundlapse, Centro 14K, Universidad Austral de Chile, Valdivia CL
  • 2025: Sounds of the Wetlands, University of the Arts London, UK
Award:
  • PSeME Electroacoustic Music Competition 2025, Finalist

Publication:
  • Sounds of the Wetlands - Gruenrekorder


Journal



The composition begins with raw sound recorded using hydrophones attached to reeds. As the spring breeze moves through them, the reeds produce subtle, organic sonic gestures that form the foundation of the piece.
The water system in the wetlands is mostly silent, requiring experimentation with different locations to capture usable recordings.
The percussive sound that appears midway through the composition was first discovered here. It was my very first recording of the field trip, so I initially assumed it might be an electrical spark caused by my equipment. I checked my technical setup—no issues found. Later, after encountering the same sound again and again throughout the wetland park, I became convinced it must be produced by underwater creatures.
My favourite spot for hydrophone recording – I spotted a rich underwater symphony here, which is featured towards the conclusion of the composition.
Recording the water infrastracture. 
Recording the sound of photosynthesis is extremely quiet and requires significant amplification. I can only hope it was a sunny day.




ZHAO JIAING 赵 嘉旌
Spatial Music Composer, Interdisciplinary Sound Artist
jiajingzhao96(at)gmail(dot)com