Achronological. Anarchival. Fragments, loops, layers. Reflections, inspirations, conversations.

Tracing creative process and threads of research on art, bridges, music, sound, data, and technology.

Listening to the sound of bridge cables, the voice of each bridge is heard as an instrument for an expanded urban musical experience.

Every bridge is connected to all other bridges through the vibrations in their structure. Stretching across geographical and architectural borders into a new acoustic form, all bridges resonate with a secret music, transmitting and receiving messages, codes and signals. Voice and vibration. Concrete and abstract. A sensual aurality. Immersed in the world by your ear.

“As places of mediation, of encounter and crossing, bridges are for me very much connected with angels, who mediate between human and divine realms.

Being in the middle of a bridge places us like angels, in-between, offering us a moment for contemplation and self-reflection.

It is interesting to think of bridges this way, as places that intensify the feeling of ‘being in the moment’, that brief instance of unpredictability, when we are still undecided what will happen next.”


What is Bridgeland?

Bridgeland is singing. Bridgeland is dancing. Bridgeland is freedom. Bridgeland is yes. Bridgeland is infinite. Bridgeland is a meta-nation on every bridge around the world.

Every bridge, everywhere is part of Bridgeland.

Bridgeland transcends the outlines of geography, where crossing the bridge transports you into another reality. Bridgeland is a place where anything may be possible. All we need is imagination.

“The city has become our temple, electronic networks our religion, and the inaudible vibrations of bridge cables are the voice of the divine. The word of the universe soaks through my cochlea into the nerve centres. I am wired to god.”


Jodi Rose amplifies and records the vibrations of bridges around the world for your listening pleasure. Composing experimental music, concerts and on-site installations with “Singing Bridges” since 2002. She first recorded Anzac Bridge in 1995 and has broadcast, exhibited and performed site responsive work on and under bridges internationally. Producer & Host of Transit Lounge Radio and Culture Transmit.

Recording Brookklyn Bridge, 2002

Douglas Kahn

Review of “Sound in Space” Museum of Contemporary Art, Sydney, 1995.
Realtime 8, Aug/Sept 1995

“In the Audiotheque curated by Alessio Cavallaro one can find Song to Dissolve the World, the work of Jodi Rose who went out to the Glebe Island Bridge with The Listening Room crew, wired it for sound and made like an industrial Harpo Marx with the pizzicato on the cables, the wind blowing its way through and so forth. This could be understood as a garage band cover of the long-winded Australian infatuation with things aeolian, but in no way is it a reaction: when Coltrane plays My Favorite Things do you ever once think of Julie Andrews? The mission of Song to Dissolve the World is much more exalted, like Scriabin who sought to bring about a “dematerialisation of the world” by performing Mysterion in Tibet, and it can be heard in Rose’s written statement, which resounds with the zeal of a Judgde Schreber on religious radio:

‘The city has become our temple, electronic networks our religion, and the inaudible vibrations of the bridge cables are the voice of the divine. The word of the universe soaks through my cochlea into the nerve centres. I am wired to god.’ Jodi Rose

The bridge can no longer pass itself off as anything but a church.”

The Global Bridge Symphony is her current research project, linking the music of bridges in a live performance taking place in and from locations around the world.

A global “Mythology of Bridges” includes performative happenings, subtle interventions, video/audio composition and poetic cultural essays. The interdisciplinary process is evident in the production of artworks, lectures, theoretical texts and archive-documentary materials. Welcome to Bridgeland! highlights the bridge as a place of transformative potential, the locus for metaphorical meanings and mythological experiences. Welcome to Bridgeland! is an art-research project in the fields of cultural acoustics, media arts /theory, site-specific intervention, oral history and alternative ethnographic memoir.

Luka Princic & Jodi Rose wiring up Bizovik Bridge, Ljubljana 2008 Photo by Cym

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“I assure you, it is better to try to cross that bridge and fail, than not to try at all. Then he realised that in the end, the bridge had turned into air, and into dreams.” 

Ben Okri, Astonishing the Gods.