Compost is the result of a series of microbiological reactions that transform organic substances into fertilising humus, which enriches the soil. The composting technique mimics the processes in the forest that return organic substances to the life cycle. What comes from the soil has grown, lived, been used and discarded and returns to the soil as new enrichment. WKR turns the ear to these discards through a sonic metaphor, creating a space to welcome, cultivate, care for and value sonic waste: uncultivated, broken, deviant sounds, not worthy of being heard again, rejected in their ontology. What happens when we decide to archive or eliminate a sound, that is, to eliminate ‘sonic wastes’ from the listening landscape? And if we decide to listen to these scraps, what do they tell us? What happens when we try to trigger the composting of sound scraps? Through a dialogue between science and art, we would like to give life to a reflection and an artistic practice that declines our respons-ability, i.e. the ability to offer answers, to the urgencies posed by the Wasteocene and in particular by the surge in the production of pollution due to the multiplication of digital work, which sees all sectors and thus also that of art in a process of digitisation that does not, however, include reflection on the ecological footprint it entails. In a queer vision, which is compost, the transformation of waste is implemented by introducing it into multi-species narratives with processes of open endings, thanks to a development without progress, multidirectional and indeterminate. Waste becomes vibrant matter, takes on a non-linear transformation, accepts to leave its identity and becomes something else, opening up to unexpected, interdependent collaborations and combinations, without reducing to one but exploding into the multiple.