Christian Duka is a sound artist and curator working primarily with spatial audio. His practice moves between performance, improvisation, community organizing, and technical research — often blurring the boundaries between them.
He has collaborated with free improvisers including John Butcher, Ute Kanngiesser, David Toop, Sharon Gal, and Aimée Theriot, developing a performance practice that layers live electronics and ambisonic spatialization over acoustic gesture. His interdisciplinary projects include UR: Human Presence (with Jose Macabra, Pell Ensemble, and Elissavet Sfyri) and The Listening Body (with Hems, Merkaba Macabre, and Pascal Savy) — immersive works exploring sound as embodied presence.
As one half of MARMO (with Marco Maldarella) and Vādin (with Lucie Štěpánková/Avsluta), he has released albums on Utter, Offen, Area127, and Secuencias Temporales, exploring drone, ambient, and improvised electronics. His solo work includes Aural Cinema, a psychoacoustic composition investigating interoception and the body's response to spatial sound.
In 2019, he founded Amoenus, a non-profit organization supporting spatial sound in the arts through residencies, events, and the Amoenus Recordings label. He also curated Sonic Garden (London) and co-founded Kopshti Zanor (Tirana) — community-based ambient music gatherings. He has taught electronic music, audio production, and sound design at SAE London and Greenwich University.
︎ duka.christian@gmail.com
He has collaborated with free improvisers including John Butcher, Ute Kanngiesser, David Toop, Sharon Gal, and Aimée Theriot, developing a performance practice that layers live electronics and ambisonic spatialization over acoustic gesture. His interdisciplinary projects include UR: Human Presence (with Jose Macabra, Pell Ensemble, and Elissavet Sfyri) and The Listening Body (with Hems, Merkaba Macabre, and Pascal Savy) — immersive works exploring sound as embodied presence.
As one half of MARMO (with Marco Maldarella) and Vādin (with Lucie Štěpánková/Avsluta), he has released albums on Utter, Offen, Area127, and Secuencias Temporales, exploring drone, ambient, and improvised electronics. His solo work includes Aural Cinema, a psychoacoustic composition investigating interoception and the body's response to spatial sound.
In 2019, he founded Amoenus, a non-profit organization supporting spatial sound in the arts through residencies, events, and the Amoenus Recordings label. He also curated Sonic Garden (London) and co-founded Kopshti Zanor (Tirana) — community-based ambient music gatherings. He has taught electronic music, audio production, and sound design at SAE London and Greenwich University.
︎ duka.christian@gmail.com
Christian Duka is a sound artist and curator working primarily with spatial audio. His practice moves between performance, improvisation, community organizing, and technical research — often blurring the boundaries between them.
He has collaborated with free improvisers including John Butcher, Ute Kanngiesser, David Toop, Sharon Gal, and Aimée Theriot, developing a performance practice that layers live electronics and ambisonic spatialization over acoustic gesture. His interdisciplinary projects include UR: Human Presence (with Jose Macabra, Pell Ensemble, and Elissavet Sfyri) and The Listening Body (with Hems, Merkaba Macabre, and Pascal Savy) — immersive works exploring sound as embodied presence.
As one half of MARMO (with Marco Maldarella) and Vādin (with Lucie Štěpánková/Avsluta), he has released albums on Utter, Offen, Area127, and Secuencias Temporales, exploring drone, ambient, and improvised electronics. His solo work includes Aural Cinema, a psychoacoustic composition investigating interoception and the body's response to spatial sound.
In 2019, he founded Amoenus, a non-profit organization supporting spatial sound in the arts through residencies, events, and the Amoenus Recordings label. He also curated Sonic Garden (London) and co-founded Kopshti Zanor (Tirana) — community-based ambient music gatherings. He has taught electronic music, audio production, and sound design at SAE London and Greenwich University.
︎ duka.christian@gmail.com
He has collaborated with free improvisers including John Butcher, Ute Kanngiesser, David Toop, Sharon Gal, and Aimée Theriot, developing a performance practice that layers live electronics and ambisonic spatialization over acoustic gesture. His interdisciplinary projects include UR: Human Presence (with Jose Macabra, Pell Ensemble, and Elissavet Sfyri) and The Listening Body (with Hems, Merkaba Macabre, and Pascal Savy) — immersive works exploring sound as embodied presence.
As one half of MARMO (with Marco Maldarella) and Vādin (with Lucie Štěpánková/Avsluta), he has released albums on Utter, Offen, Area127, and Secuencias Temporales, exploring drone, ambient, and improvised electronics. His solo work includes Aural Cinema, a psychoacoustic composition investigating interoception and the body's response to spatial sound.
In 2019, he founded Amoenus, a non-profit organization supporting spatial sound in the arts through residencies, events, and the Amoenus Recordings label. He also curated Sonic Garden (London) and co-founded Kopshti Zanor (Tirana) — community-based ambient music gatherings. He has taught electronic music, audio production, and sound design at SAE London and Greenwich University.
︎ duka.christian@gmail.com