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.
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.
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 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.
is an essay for the Transmediale Journal, in which I discuss “how the trivial and the familiar can be weaponized in order to trigger emotions, evoke dialects, and ultimately decide upon the course of lives.”
is a paper discussing the role of design and material practices on the weaponization of quietness through the deployment of sound bombs by the Military Police of São Paulo, Brazil. Published by the Design & Culture Journal in June 2019.