A sound essay in four chapters, produced with the support of Akademie Schloss Solitude and ZKM Karlsruhe as winner of the HASH Award 2020. Developed by Berrak Nil Boya. “TIDES, or an inevitable unfolding” stages an imagined conversation between Gloria Anzaldúa and Édouard Glissant on borders, language, citizenship, belonging, and what it means to understand […]
is a write-up and/or script for a performance-lecture on how to listen and think (with and against) the archive. Presented live a couple of times in 2020; now living as a book chapter in “Postcolonial Repercussions – On Sound Ontologies and Decolonised Listening,” published by Transcript Verlag.
Composition and live performance for modular synthesizer and recorded voice. Constructed with and through the voice of death metal singer Fernanda Lira (Crypta). Originally commissioned by Festival Novas Frequências (Brazil) and Taking Things Apart (Germany) with dramaturgy by Giuliana Corsi. Length: ca. 40 minutes. A sonic exploration on the afterlives of colonialism and the violence […]
is a critical reflection on the temporal and spatial articulations of Germany’s colonial modes of listening. An exegesis of my piece “A Series of Gaps Rather Than a Presence,” published as part of the MAST Journal.
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. 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 singing of home, inflected with glitches and distortions. […]
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.