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Flurina Mia Häberli (*1998, Budapest) is a swiss sound artist and musician. She is a multifaceted artist immersed in the world of acoustic ecology and musical creativity. In an era where climate crisis demands immediate attention, it is all the more important to her to draw attention to environmental issues through sound and artistic research.

In the realm of composition, Flurina brings together sonic textures, incorporating the natural world's voices and electronic elements into space to create compositions that are both evocative and innovative. Besides the studio, Flurina is a singer-songwriter and live performer. She is a member of the electronic trio called Babycurls, has her own band called no phase and is solo-performing as flurina mia mostly nowadays experimental electronic music, sometimes still with guitar and her voice only. 


Currently, Flurina is doing her master's degree in Sonology at Royal Conservatiore in The Hague.

Her research project is about the soundscape of underwater anthropogenic noise pollution as foundation for compositions and live performances. 

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Underwater anthropogenic noise pollution as foundation for compositions and live performances


Noise pollution in our environment on land is known, understood, and abated through applicable existing ordinances. Unfortunately, this is not the case with respect to our underwater environment. The act of regulating anthropogenic noise pollution in the oceans is much more difficult due to the physical propagation of underwater sound. Human-made underwater sounds originate from many sources, including shipping, seismatic activities from oil and gas exploration, military activities, pile driving during construction of offshore windfarms, and deep-sea mining. Marine mammals use hearing as primary sense to detect predators or prey, orientation and to communicate with cospecies. There is an overlap in the frequency range in which marine life can hear/produce sound and anthropogenic sound; as a consequence, marine life gets interrupted. The increasing noise level can negatively affect marine life and their ecosystems in complex ways, including through acute, chronic, and cumulative effects.


This research project will deal with the soundscape of underwater anthropogenic noise pollution as a foundation for compositions and live performances. By exploring ways to work with this sound material and incorporate it into my practice, I aim to create more awareness about noise pollution. How does the increasing anthropogenic noise pollution influence the biggest ecosystem of our world, the oceans? What are the possibilities to decrease anthropogenic noise? Can decreasing noise levels help counteract the ongoing species extinction due to climate crisis? How can I put those questions and facts into artistic musical work?


The theoretical part of my master's thesis is subdivided into four topics: research of hydrosphere acoustics, composition techniques, field recordings, and research of different types of hydrophones. For example, regarding composition techniques: how can I include data of ocean noise maps in a composition or use it as a tool to create structures for following pieces? The practical part of my master‘s project is subdivided into five topics: collecting, recording, recreating, composing, and performing.

to date

MA Sonology, Royal Conservatoire The Hague

2020 - 2023

BA Sound Arts, Hochschule der Künste Bern

2019 - 2020

Winterthurer Institut für aktuelle Musik, Vorstudium Jazz, Rock, Pop

2017 - 2018

Polydesign 3D

2019 - 2020

Kunstschule WinterthurPropädeutikum

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