is an essay for the 4th issue of DING Magazine “Correspondences from the Edges,” on how the European border listens to the (migrant) body, the implications of these listenings in shaping understandings of what the “human” can be, and how these understandings can be turned upside down.
8-channel Ambisonics sound installation. Commissioned by the Max-Planck Institute for Empirical Aesthetics and installed at BASIS Frankfurt in November 2020. Based on “Balada do Filho Pródigo” (1989) by Elomar Figueira Mello, re-interpreted by Aimilia Varanaki. Length: 3:34. Text by Marie Thompson:“In There is a Point at Which Methods Devour Themselves, the listener encounters a voice […]
Single channel video, two-channel sub-bass. Commissioned by the Max-Planck Institute for Empirical Aesthetics and installed at BASIS Frankfurt, November 2020. Length: 12 minutes (Loop). Text by Eike Walkenhorst and Ramona Heinlein: “A boat rocks peacefully in an Italian port in the Mediterranean while the sun draws wave-like patterns on its polished white surface. The random […]
is a book chapter for “Border Listening/Escucha Liminal” published by Radical Sounds Latin America in 2020. It presents an interrogation of one of the many articulations of racialized sonic violence in Brazil perpetrated by the Military Police of Rio de Janeiro, using a Jukebox (and the listening practices it affords) as its main narrative thread.
is a poem on bass, migration, biometry, and repentance, commissioned by 20Seconds Magazine and published in their second issue, released September 2020.
are liner notes for Lucas Odahara and Luiz Monteiro’s “COVER (Something Newly Missing)” discussing the power of musical covers, their relation with the blues and Latin America’s idea of solitude.
is my contribution as a guest editor for issue 19 of the Journal of Sonic Studies, themed “Sounds of Latin America.” This Editorial is both a framing and a call, weaving with and through Gabo, Gloria Anzaldúa, and Ailton Krenak.
is an MA Seminar exploring the effects of sound in the body and diverse definitions and discussions on forms of violence. Based on “Sound and Violence, Sound as Violence” BA course.
is a chapter for the Bloomsbury Handbook of Sound Art, edited by Sanne Krogh Groth and Holger Schulze. In it I discuss possibilities for sound art thinking through and together with Édouard Glissant and Gloria Anzaldúa.
Pencil drawings, 30×36 cm, series of four. Installed at BASIS Frankfurt, November 2020 with an additional 2-channel headphone track. Length: 3:34. Text by Eike Walkenhorst and Ramona Heinlein: “The Detectability of Echoes emphasizes […] the variable sonic forms and intensities of a singer inhaling, which if not frightening in itself certainly reminds us of moments […]