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by M. Cristina Marras
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- Today2 min
Lagoon [Columbia Radio Race] 🦩
The salt is blinding. The provisions are half gone. There is no turning back.Lagoon picks up where Bitter Water ends: the vault is behind her, the liquid expanse is ahead, and the white formations on the horizon may or may not be what the Elders described. The surface is hostile: quicksand beneath the salt crust, acid water, beasts adapted to sulfureous ponds. She keeps moving. Above the white formations, the sky is doing something she has no word for.The Elders said the phoenicotterius stood still as statues in the Molentargius Lagoon, long necks bent to the water. So beautiful you felt a shiver in your bones.She needs to feel that shiver.Lagoon is a solo voice, created, spoken, produced, edited and mixed by M. Cristina Marras for the Columbia Radio Race. Flamingo LoreFlamingo Rising · An Audio RPG by Sardinian Imaginary Games Bitter WaterFlamingo Lore is an ongoing body of work set in a dystopian Sardinia where the surface is salt, acid water, and UV, and humans live underground. The world is consistent across pieces, but each work is an independent entry point, a different voice, a different moment in the same collapsed future.Across the work, flamingos shift roles: they appear as myth and salvation, as creatures of impossible beauty the survivors risk their lives to find, and (in other corners of the universe) as rulers and torturers in an improbable RPG, wielding power over what remains of human life.I have always been fascinated by the apparent fragility but effective strength of flamingos, the only living creatures that can drink water close to boiling point, among other things.I live in Cagliari, surrounded by pink flamingos.
- Today6 min
Bitter Water [Water Library] 🦩
"Water used to have no taste. That's what the Elders say, and that's the hardest thing to believe. In a future Sardinia where every surface water is alkaline and corrosive, a young woman leaves the underground vault at dawn, before the UV peaks. She is looking for something. She has rope, smoked glass, and not much else."Bitter Water is a dystopian tale of hope and magic amidst the desolate landscape of the Molentargius Lagoon, which is said to be inhabited by monstrous beings and, perhaps, by sublime creatures as well, which could be the same being.Enter the sonic experience of a post-apocalyptic Sardinia.Created, spoken, produced, edited and mixed by M. Cristina Marras for The Water Library, a storytelling project about water by Irish audio producers Zoë Comyns and Regan Hutchins.Flamingo LoreFlamingo Rising · An Audio RPG by Sardinian Imaginary Games Flamingo Lore is an ongoing body of work set in a dystopian Sardinia where the surface is salt, acid water, and UV, and humans live underground. The world is consistent across pieces, but each work is an independent entry point — a different voice, a different moment in the same collapsed future.Across the work, flamingos shift roles: they appear as myth and salvation, as creatures of impossible beauty the survivors risk their lives to find, and — in other corners of the universe — as rulers and torturers in an improbable RPG, wielding power over what remains of human life.I have always been fascinated by the apparent fragility but effective strength of flamingos, the only living creatures that can drink water close to boiling point, among other things.I live in Cagliari, surrounded by pink flamingos.
- 4 days ago6 min
Spaciada sa Bregungia (No More Shame)
Winner, HearSay International Audio Festival 2026 — Golden PrizeEvery time I'm in the car and a flock of sheep passes in front of me, it almost feels like this is my home.That line opens Spaciada sa Bregungia. It is in Sardinian, or rather, in the Sardinian I have. Which is not the same thing.Listen here in Sardinian without subtitles→Spaciada sa Bregungia opens with sheep bells, that particular, unhurried sound that in Sardinia means you are exactly where you should be. Against that texture, my voice arrives, in a language I should have grown up speaking. I didn't.I didn't grow up speaking Sardinian. My parents made a choice, a rational one, from where they stood. They believed that Italian was the language of the future, of education, of opportunity. That raising their children in Sardinian would mark us as peasants, hold us back, make us targets. They were trying to give us a better life. They were themselves products of a system that had taught them, convincingly, that their own language was an obstacle.Nobody taught me the language of my home. The one my illiterate grandmother spoke. The one I couldn't use to talk to her because I didn't understand it. My parents thought they were protecting me. They were also, without knowing it, cutting me off from my own people. That loss doesn't go away.Spaciada sa Bregungia moves from that personal wound outward, through history, through politics, through the specific and ongoing ways a land and its people get diminished. It is not a gentle piece.On the language — and the criticism.Before I released this piece, I nearly didn't.Fluent Sardinian speakers told me that releasing a piece with imperfect grammar would damage the language. That it would reflect badly. That I should perhaps not do it at all.I was stopped cold. Angry. Sad. Confused.Because the reason my Sardinian isn't perfect is exactly what the piece is about. My mother didn't teach me because she herself was a victim of the same colonial system I was speaking against. And now the gatekeepers, the vigilantes who chastise those who don't have a perfect knowledge of the language they were never taught, were telling me that the imperfection caused by that very erasure was reason enough to stay silent.That is the trap. That is how the damage perpetuates itself.I had thought about asking a friend to correct my Sardinian so it would all be grammatically sound. But then it would have been written correctly, and it would not have been me.Two good friends talked me back. I went ahead. Imperfect. Mine.What happened at HearSay.Spaciada sa Bregungia won the Golden Prize at HearSay International Audio Festival 2026. Being part of that community is a joy. But seeing this piece celebrated on an international stage is something else, it is a personal vindication. A scream of rage.Dozens of people approached me at the festival, from Ireland, from across Europe, from places that had no reason to know anything about Sardinia. They told me they had no idea. No idea about the history, the colonial relationship, the language suppression, the ongoing erasure. How Sardinian history, culture and language are still not on the school curriculum. How this is still happening now.This is also a call to action, for every Sardinian ostracised twice over: first by the erasure of their mother tongue, then by the gatekeepers of a language they were never taught.To the occupying power that still doesn't recognise our millennial past: you know what you can do with that.My Sardinian grammar may not be perfect. But in my heart I know that I made the case. I brought Sardinia onto an international stage and people heard it.Spaciada sa Bregungia. No more shame.CreditsCreated, spoken, produced, edited and mixed by M. Cristina Marras. Voices: Shepherd — Gianfranco Bitti; D.H. Lawrence — Romeo M. Minutolo. Murra players recorded live at the Sardinian Murra Championship, Urzulei, Sardinia. Music: Art of a Dead Man by Shadows; Under the Skin by Semo; The Fall (instrumental) by Or Chausha. All music licensed via Artlist.
- 3 weeks ago3 min
Flamingo Rising · An Audio RPG by Sardinian Imaginary Games [Audio Flux 07]
Imaginary Sardinian Games presents: Flamingo Rising!An Audio RPG · Episode One: Level OneA bit breathless, enthusiastic, slightly unhinged.The year is unclear. What is clear: Sardinia is salt now. The hills, the roads, the vineyards. All of it, crystallised under an indifferent sky. Overexploitation swallowed the land, and what remains is beautiful in the way that only dangerous things can be.You are Player One. Player Two didn't make it.Your quest is simple. Find drinkable water. Your boots are already dissolving. Somewhere ahead, forty-seven flamingos are waiting."The flamingo wants a story. It wants to know: what piece of the old world did you refuse to throw away?"Flamingo Rising is a one-of-a-kind audio RPG set in a post-apocalyptic Sardinia: part game, part elegy, part fever dream. It is narrated by a GM who is doing their best under difficult circumstances. Roll for initiative. Bring something to remember.Level Two begins at the edge of what was once a vineyard. The vines are salt now. They are beautiful.Flamingo Rising. Created for Audio Flux 07, the flamingos own it now.The GM is Romeo M. Minutolo who also created the image.Story, recording and sound editing by M. Cristina Marras.
- Feb 28, 20265 min
The Sound Weaver's Incantation [Cities and Memory]
Sometimes magic finds you when you least expect it. That's exactly what happened when, among the many sounds from the Pitt Rivers Museum, I stumbled upon a recording of a night forest in the Central African Republic. I was immediately drawn to the sound because it felt magical. Without even reading the description to know the background of the sound, where it came from or how it came about, I selected it as a basis for my creation, trusting my intuition to guide me toward something special.The Sound Weaver's Incantation is part of Cities and Memory's A Century of Sounds,an ambitious project celebrating the Pitt Rivers Museum's extraordinary audio heritage. This global collaboration brings together artists, collectors, and listeners to reimagine historical and contemporary field recordings, creating new sonic landscapes that honour the past while embracing the present.As an artist who often searches through recorded sounds for inspiration to tell personal stories, I expected this to be just another backdrop for my reflections. But this time it ended up being different. As I began reading about the origin of the sound, chosen purely for its magical quality, I found myself lost in the discovery of a real-life hero.I met legendary ethnomusicologist Louis Sarno – a fantastic human being who devoted his entire life to the collection, protection, and conservation of the sounds and culture of the Bayaka people. From that moment, I knew I couldn't simply use the rainforest sound as a backdrop for my personal musings. I felt the profound need to bring back to life the magic of the forest and the love and passion that Louis Sarno poured into his life's work.Through this piece, I hope to honour Louis Sarno's legacy and the enduring magic of the Bayaka sounds he so lovingly preserved. In a world where so many cultural voices are at risk of being silenced, this incantation serves as both tribute and promise – that with patience, reverence, and a touch of magic, the music of life shall never die.Photo by Jack Taylor on Unsplash
- Feb 10, 20265 min
Asylum (don't look in the sink) [Small Audio Art]
Asylum is an immersive piece that takes listeners into a disorienting world of raw, urgent, whispered confessions layered on a cinematic soundscape worthy of your best psychological thriller. Listeners are left with a vague sense of uneasiness, and one piece of advice: do not look in the kitchen sink.The piece was created for Small Audio Art, the online space by Phoebe McIndoe where audio artists respond to simple prompts, like a kitchen sink, every other month. It's a low-pressure spot for short, creative audio pieces that connect makers worldwide.
- Jan 26, 20264 min
Incantation for restoring democracy (for when the people's voice has been silenced by concrete and steel).
This piece reflects a journey from witnessing US events and feeling powerless to taking creative action. As an independent audio producer living in Sardinia (Italy), I could not make sense of my desperation while witnessing ICE violence in Minneapolis. I was horrified, so I decided to channel my energy into creating an incantation, using my skills to feel less powerless. This piece aims to be cathartic resistance and magical defiance against oppression. I used the only weapon that I have, my creativity, as a tool to denounce horrific realities and, hopefully, inspire other creators to use art for activism to contribute to change. Read, share, and speak it aloud. Please note: The protest sound at the end has been recorded in Minneapolis, used courtesy of stevevader101 -- https://freesound.org/s/841767/ -- License: Attribution 4.0
- Jan 13, 20261 min
Didn't you ask for kids? - Sonic Dash 2026
Didn’t You Ask for Kids? is a political satirical piece about the relationship between Jeffrey Epstein and Donald Trump, all based on the misunderstanding arising from the fact that the word kids means both children and young goats. The piece starts with a weird phone call in which Epstein is informed that the kids ordered are about to be delivered to his island, “just in time for the party with my friend Donald” but when the kids arrive, Epstein is very disappointed, while Trump will still able to find a silver lining.The Biannual Sonic Dash is always a great opportunity to dive into another of those magic moments of high-pressure creation: you have until Sunday to come up with a two-minute audio addressing the prompt emailed to you on Friday. The catch is that you cannot use any pre-existing material, so you have to compose the music and make up the sound effects (if you use any). The prompt for this latest round was “those meddling kids”, yes, the Scooby-Doo catchphrase. I was lucky to have a small, dedicated team (Roman Lillian Uras-Garvin and Romeo Maria Minutolo), and together we brainstormed, wrote, and produced our piece. I’d like to share a bit about our process. We agreed that we wanted something original (so we immediately put aside anything related to Scooby-Doo), humorous but also poignant, ideally making a comment on something important.I think our Didn’t You Ask for Kids? hit the mark. This time, we didn’t make it to the 10 finalists, but we love it as it is: completely self-produced (keep an ear out for the sound effects created with doorbells, an air fryer, and a hair dryer), absolutely current in its content, definitely original (verging on the absurd), and we find it unquestionably humorous.I hope you enjoy listening as much as we loved creating it!
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About Art, in all the wrong places
Characters who can't always be trusted. Because they often don't see the difference between sound and noise, between countryside and abandoned building, between fiction and reality.I explore sound, speak languages and talk to strangers. This is my work.AIR Member. www.cristinamarras.com
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