Show Notes
This week's Jesse Cox Audio Fellowship takes us outside.
There is some change we can’t do anything about, some change that we can, and some change that feels so big that for some it's hard to see where they fit within it. I think the story is about how different kinds of people interpret and integrate their experience of change in a landscape that they love and know well. And I think that landscapes are more than just physical places. I think they exist in the collective imaginary made up of all the different stories and memories that many, many people hold of a place. - Tessa Campisi View From A Mountain in Motion by Tessa Campisi Perched on the edge of the Victorian Alps, up a long, winding road, lies an old, granite plateau which these days is known as Mt Buffalo. Beyond its physical geography, Mt Buffalo lies someplace out there in the collective imaginary, held together by a patchwork of memory and story. But things are changing in the Alps, and what was once known edges towards the unfamiliar. If we look out across the arc of time, from the deep past through the present, and nudge our gaze towards the future – what do we see? And where do we see ourselves.
CREDITS Producer: Tessa Campisi Mentor and Supervising Producer: Liz Keen Featuring: Jacqui Durrant; Anna Langford; Keith Brettargh; John Dalbosco; Anthony Romano Music by Blue Dot Sessions Archival Audio: “A Kiss by Lake Catani” by Johnny Wade and His Hawaiians (1939); “Alpine Playground” (1963), Australian Tourism Development Commission. Archival audio from the ACMI Collection, Australian Centre for the Moving Image.
This story was produced with the support of the Jesse Cox Audio Fellowship. – JCAF Credits Our gratitude and thanks to the friends and family of Jesse Cox, and to everyone who made JCAF 2026 possible. JCAF 2026 Fellows: Ramon Briant, Shareeka Helaluddin, Tessa Campisi and Anna Outridge JCAF 2026 Mentors: Ian Walker, Farz Edraki, Liz Keen and Jon Tjhia Workshop Facilitators: Janak Rogers, Belinda Lopez, Jon Tjhia, Camilla Hannan, Sophie Townsend, Mell Chun, Wing Kuang. JCAF Program Facilitator: Mel Bakewell
All the Best Credits Host: Gabriella Accaria Executive Producer: Melanie Bakewell Programming & Community Coordinator: Catarina Fraga Matos Production Manager: Kwame Slusher All The Best Intern: Nili Javid Theme Music composed by Shining Bird And a special shout-out to all our volunteers! See omnystudio.com/listener for privacy information.
More from All The Best
"...as an act of justice doing and expressing how much I care for them, and I guess also the sacredness of all life in witnessing and experiencing multiple genocides and affrontations of, like, what's happening on these lands I think navigating grief as an act of love maybe gave me a sense of autonomy and being able to move through with a, with a bit more grace and not letting it subsume me all of the time." - Shareeka Helaluddin
There is this Tolstoy quote from Anna Karenina, "All Happy families are alike; each unhappy family is unhappy in its own way." I've always struggled with this binary. This idea of happiness or unhappiness as somehow being fixed states. No nuance. I think real families, ones outside Russian fiction, exist on a more complex spectrum.
This week we are featuring our first story from our Jesse Cox Audio Fellowship 2026! More than 15 Years ago, Jesse Cox co-developed an incredible audio narrative program on fbi.radio called All The Best. JCAF is an audio mentorship program, pretty one-of-a-kind, championing the kind of work and spirit our show's co-founder upheld and honouring his legacy.
Sooooo ... the best way to think of this episode is a bit like Mary Shelley's Frankenstein. But instead of there being a bereaved scientist obsessed with resurrection, we have a monster of a story stuck together from different audio body parts made by audio makers from all over the world. Our Programming and Community Coordinator Catarina Fraga Matos breaks down the way the audio corpse works:
Speculative fiction is all about reimagining the world. Taking something ordinary, turning it upside down, and asking, 'What if?'