Miriam Sentler is fascinated by the contrast between the industrial exploitation of nature and the material agency of trees, crickets, and birds. Just like in many other places where mining has taken place, the miners in Limburg felt a connection with nature. For example, the local trees were not so much selected for hardness to support the mine galleries; they selected a particular tree because the wood cracked or "speaked" in a certain way before breaking. Under the working title The Forest Underground, Sentler uses sound, sketches and installation to experiment with material collected during previous field surveys in the former mining area around Genk, including field recordings, research literature and notes of conversations with local residents, ecologists and historians. During this process, Sentler teams up with composer Drake Stoughton, focusing primarily on the question of what is 'natural' and 'man-made' in a landscape where sounds of nature have been industrialized and industrial areas naturalized. The Forest Underground is assessed by the advisory committee as an intriguing and at the same time clear proposal, in which the artist's skills and self-reflection give a lot of confidence in the experimental method.